THE CLASH SELF TITLED 1st ALBUM RARE STILL SEALED W/ 7” WLP SINGLE 1977

$

50

Here is a STILL SEALED!! MINT! copy of the DEBUT LP from THE CLASH self-titled THE CLASH. It would be hard to find a better sealed copy than this one! It is pressed on the EPIC label, catalog #JE 36060 in STEREO sound. This ORIGINAL US LP was released in 1977. The vinyl is presumed to be in MINT! condition because it is sealed. The WHITE LABEL DEMONSTRATION ONLY 7” 45rpm single is presumed MINT! The original cardboard cover is in NEAR MINT MINUS! condition with tiny corner bumps. Sticker promoting free 7” on front. SHRINK is completely intact. It is a TOP COPY! MINT! copy of this LP for you to own. It is an opportunity to purchase this LP in this condition. It’s a true gem for the BRITISH PUNK / HARD ROCK collector!! Email me with any questions and be sure to look at the pic’s. I DO NOT ACCEPT BIDS FROM OR MAIL TO SOUTH AMERICA, SOUTH AFRICA, ITALY & OTHER COUNTRIES. IF YOU ARE NOT FROM THE USA CONTACT ME BEFORE BIDDING! International bidders can email me for shipping rates. Thanks for Looking & Good Luck!

Music Review from AllMusic.com by Stephen Thomas Erlewine

Never Mind the Bollocks may have appeared revolutionary, but the Clash's eponymous debut album was pure, unadulterated rage and fury, fueled by passion for both rock & roll and revolution. Though the cliché about punk rock was that the bands couldn't play, the key to the Clash is that although they gave that illusion, they really could play -- hard. The charging, relentless rhythms, primitive three-chord rockers, and the poor sound quality give the album a nervy, vital energy. Joe Strummer's slurred wails perfectly compliment the edgy rock, while Mick Jones' clearer singing and charged guitar breaks make his numbers righteously anthemic. Even at this early stage, the Clash were experimenting with reggae, most notably on the Junior Murvin cover "Police & Thieves" and the extraordinary "(White Man) In Hammersmith Palais," which was one of five tracks added to the American edition of The Clash. "Deny," "Protex Blue," "Cheat," and "48 Hours" were removed from the British edition and replaced for the U.S. release with the British-only singles "Complete Control," "(White Man) In Hammersmith Palais," "Clash City Rockers," "I Fought the Law," and "Jail Guitar Doors," all of which were stronger than the items they replaced. Though the sequencing and selection were slightly different, the core of the album remained the same, and each song retained its power individually. Few punk songs expressed anger quite as bracingly as "White Riot," "I'm So Bored with the U.S.A.," "Career Opportunities," and "London's Burning," and their power is all the more incredible today. Rock & roll is rarely as edgy, invigorating, and sonically revolutionary as The Clash.