THE CLASH Combat Rock LP CBS 1982 UK orig+inner FMLN 2 JOE STRUMMER-GINSBERG

	€		25
	$		29

THIS IS THE UK ORIGINAL PRESSING on CBS label. SINGLE COVER + INNER SLEEVE. The cover is in VG(+) condition: normal wear, BUT some discolouration/wear on spines/corners, surface ringwear/edgewear, mild creases on edges/corners, surface marks'hairlines, left spine is readable; for details see photos. The vinyl  (with some surface marks) is in VG+ condition.

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THE CLASH

TOPPER HEADON, PAUL SIMONON, MICK JONES, JOE STRUMMER 

The most accomplished punk band, critically important provocateurs influenced 

by reggae, rockabilly, soul, and blues.

"COMBAT ROCK"

tracklisting: please, for tracklist see pictures

1982     LP     CBS RECORDS     FMLN 2

MADE IN ENGLAND    ORIGINAL PRESSING

SINGLE COVER + INNER SLEEVE

NOTES: Issued on custom CBS labels and with a printed lyrics inner sleeve.

Initial quantities included a poster and a sticker on the front cover stating: 'Free Poster Inside FMLN 2'. Some copies have two different hype stickers. THIS ONE without poster and sticker(s).

Barcode and Other Identifiers

Barcode: none

Label Code: LC 0149

Price Code (On rear cover): CB 271

Price Code (Circled on rear cover): 57

Rights Society: MCPS / BIEM

LABEL: CBS - DARK GRAY LABEL - YELLOW/RED TEXT

Catalog on cover: FMLN 2  

Catalog on labels: FSLN 2  FMLN 2 A* / FMLN 2  FMLN 2 B*

Matrix / Runout (Side A, Etched): FMLN 2 A-3 C

Matrix / Runout (Side B, Etched [Stamped FMLN]): FMLN F̷L̷M̷N̷  .2 B3 I I V

On label: please, for details see dedicated photos

On Back Cover: Tracklist + some Credits

CBS[logo] is a Registered Trademark of CBS Inc.   © 1982 CBS Records

grading

RECORD VG+ but (please, read above description)

SLEEVE VG(+) (please, see pictures and read above description)

When the Clash began recording a follow-up to the ambitious triple-album Sandinista!, they were a band in turmoil. Joe Strummer and Mick Jones were barely speaking, Topper Headon was falling into addiction, and the record label was demanding a hit. The tension and miscommunication between bandmembers got so bad that they ended up working in different studios on vocals and overdubs, each pursuing slightly different ideas. Inspired by old interests like raucous punk, jumped-up rock & roll, and spooky dub, they also folded in rap, spoken word (courtesy of Allen Ginsberg), world music, and disco on the way to Combat Rock. It was almost a double-length effort, thanks to Jones' personal mix of the album. Titled Rat Patrol from Fort Bragg, it featured songs that stretched out to epic length and downplayed some of the band's inherent energy and impact in favor of avant-garde atmosphere. To the rest of the group, it sounded too much like Sandinista!, so they decided to hire big-name producer Glyn Johns to do a more commercial mix. Working with Strummer, he edited the songs severely, bringing the guitars and vocals forward in the mix, taking out most of the odd sound effects Jones had gleefully mixed in, and smoothing off the rough edges. The resulting straight-ahead revamp gave the band their two biggest hits ("Should I Stay or Should I Go" and "Rock the Casbah") but luckily for fans who admired the band's quest to push the limits of punk, it retained enough left-of-center artistic vision and violence to make it interesting. Setting the singles aside, it's a dark album lyrically with Strummer tortured by visions of Vietnam, gripped by the cacophonous big-city mania of N.Y.C., and desperate to translate his angry politics to the masses. He cuts right to the heart of things on "Know Your Rights," ranting like a bug-eyed preacher over a raucous rockabilly riff and Headon's punishing beat. It's one of the tracks where Johns' slimmed-down and pumped-up mix works the best as Strummer and co. fairly explode out of the speakers in a blast of fury. Elsewhere, the knife is slipped in a little more subtly on restrained songs like "Ghetto Defendant," which sports some amazing Ginsberg-as-toaster vibes over a rollicking reggae rhythm. "Straight to Hell" is another track served by the cleaned-up mix, grooving tightly and feeding the effects in with precision...(AllMusic)