The Clash, a band synonymous with punk rock rebellion and musical innovation, left an indelible mark on the music scene. Emerging from the fervent London punk explosion of the late 1970s, they transcended genre boundaries, incorporating reggae, ska, rockabilly, and even early hip-hop influences into their dynamic sound. More than just a punk band, The Clash were commentators on society, politics, and the everyday struggles of the common person. Their songs resonated with a generation disillusioned with the status quo, and their music continues to inspire and provoke thought today.
This list delves into the heart of The Clash’s discography, spotlighting key tracks that showcase their evolution, lyrical depth, and enduring appeal. From raw, energetic punk anthems to genre-bending experiments, these songs are essential listening for anyone seeking to understand the legacy of The Clash and their profound impact on music history.
40. 1977
The Clash lineup in 1978: Joe Strummer, Topper Headon, Paul Simonon, and Mick Jones.
A defiant statement of intent, “1977” is less about the music itself and more about the lyrical declaration it embodies. Joe Strummer’s sneering pronouncement, “No Elvis, Beatles or the Rolling Stones in 1977,” served as punk’s year-zero manifesto. It was a bold rejection of the established rock hierarchy, even as Strummer himself harbored a deep appreciation for those very artists. This song, a historical artifact of punk’s early days, encapsulates the new wave’s perceived challenge to the old guard, making it a crucial piece in understanding the punk revolution.
39. White Riot
“White Riot,” The Clash’s debut single, is a raw blast of amphetamine-fueled punk energy. Written by Strummer after the band witnessed the Notting Hill riots of 1976, the lyrics, advocating for “a riot of our own” amongst white youth, are undeniably problematic and haven’t aged gracefully. Guitarist Mick Jones himself has expressed his discomfort with the song’s sentiment in later years. However, “White Riot” remains a significant track for capturing the band’s initial punk sound – fast, furious, and politically charged, even if the message is now viewed through a more critical lens. It marks a sonic territory The Clash would soon expand beyond.
38. What’s My Name
“What’s My Name” stands out in The Clash’s early catalog as a unique offering. It’s the only song credited to Keith Levene, the band’s original guitarist before he departed to form Public Image Ltd. Levene’s contribution is evident in the melodic flourishes that elevate this otherwise shouty punk stomper. While the song maintains the raw energy of their debut album, Levene’s “melodic gold dust” hints at the musical experimentation that would become a hallmark of The Clash’s later work. It’s a curio, bridging their initial punk sound with glimpses of their future sonic explorations.
37. Know Your Rights
From their penultimate album with the classic lineup, Combat Rock, “Know Your Rights” showcases Joe Strummer’s biting wit and black humor. By this point, tensions within the band were rising, but Strummer’s lyrical prowess remained sharp. The song ironically outlines a citizen’s rights, immediately undercutting them with cynical caveats. Lines like, “You have the right to free speech / As long as you’re not dumb enough to actually try it,” exemplify Strummer’s sardonic social commentary. Despite the band’s internal struggles, “Know Your Rights” proves their ability to deliver impactful and thought-provoking songs remained potent.
36. I’m So Bored With the USA
“I’m So Bored With the USA,” from their self-titled debut, became an instant anthem, evolving from a song about Mick Jones’s girlfriend, “I’m So Bored With You.” Strummer’s spontaneous addition of “…SA” transformed it into a blistering critique of American imperialism and cultural export. The song’s anthemic quality is undeniable, fueled by its driving rhythm and Strummer’s impassioned delivery. Ironically, The Clash, despite their anti-American sentiment in this song, were deeply fascinated by American iconography, cars, and fashion. This tension between critique and fascination makes “I’m So Bored With the USA” a complex and compelling early Clash track.
35. Janie Jones
“Janie Jones,” the storming opener of The Clash, is propelled by the drumming of Terry Chimes (credited as “Tory Crimes” on the album sleeve). It’s a tribute to a 1960s pop figure and libertine who had been imprisoned for vice offenses. The song is a raw, energetic rocker, capturing the band’s early punk spirit. Upon its release, Janie Jones herself reportedly responded to Strummer’s song with “Letter to Joe,” adding a layer of real-life intrigue to the track. “Janie Jones” stands as a testament to The Clash’s ability to find inspiration in unconventional subjects and transform them into compelling punk rock.
34. Charlie Don’t Surf
“Charlie Don’t Surf” emerges from the sprawling ambition of Sandinista!, The Clash’s three-disc, 36-song opus. While Sandinista! is often criticized for its excess, it contains hidden gems like this track. The title, a reference to a line from Apocalypse Now, hints at the song’s themes of cultural imperialism. Musically, “Charlie Don’t Surf” incorporates a surprising doo-wop element, contrasting with its lyrical content. This blend of musical sweetness and lyrical bite exemplifies The Clash’s willingness to experiment and push boundaries, even within the vast landscape of Sandinista!.
33. Brand New Cadillac
“Brand New Cadillac” is a blistering cover of a 1959 Vince Taylor and the Playboys track, featured on the seminal London Calling album. The song pays homage to the glamorous dream cars of early British rockers, contrasting them with the more modest realities of the time. The Clash’s rendition injects punk energy into the rockabilly classic, making it their own. As part of London Calling, considered The Clash’s creative peak, “Brand New Cadillac” demonstrates their ability to reinterpret and revitalize musical history.
32. The Guns of Brixton
“The Guns of Brixton,” penned by bassist Paul Simonon, provides a crucial early songwriting credit for him within The Clash. Inspired by Simonon’s experiences of police harassment and social unrest in his Brixton neighborhood, the song foreshadowed the Brixton riots that erupted two years later. The song’s distinctive reggae-infused groove, heavy on bass and drums, became instantly recognizable and was famously sampled by Norman Cook (Fatboy Slim) in Beats International’s hit “Dub Be Good to Me” in 1990, bringing Simonon unexpected financial success. “The Guns of Brixton” is a powerful example of The Clash drawing directly from their lived experiences to create socially relevant and musically innovative songs.
31. Clash City Rockers
The Clash in Leicester Square, London, 1978: Joe Strummer, Mick Jones, Paul Simonon, and Topper Headon.
“Clash City Rockers,” a 1978 single, embodies The Clash’s self-mythologizing tendency. The song reworks material from Joe Strummer’s pre-Clash pub rock band, the 101’ers, weaving it into the fabric of The Clash’s burgeoning legend. Musically, the track shifts from aggressive guitar work reminiscent of The Who’s “I Can’t Explain” to more melancholic passages, hinting at the band’s evolving musical ambition. “Clash City Rockers” serves as a bridge between their punk roots and their future explorations.
30. Rudie Can’t Fail
“Rudie Can’t Fail,” a gem from London Calling, is a vibrant celebration of Caribbean culture. According to Don Letts, a close associate of The Clash, the song was born out of a summer spent immersed in reggae clubs and cannabis culture. The track is drenched in horns and rhythms that pay homage to reggae and ska, with lyrics referencing “drinking brew for breakfast” and the “chicken skin suit.” “Rudie Can’t Fail” is a joyous testament to The Clash’s embrace of diverse musical styles and their ability to seamlessly blend them into their own unique sound.
29. Tommy Gun
“Tommy Gun,” a standout single from Give ‘Em Enough Rope, an album that received mixed reviews upon release, sees Strummer tackling the romanticization of terrorism. His lyrics are scathing, challenging the notion of terrorists as glamorous figures, with the stark warning, “You’ll be dead when your war is won.” Topper Headon’s snare drum rolls mimic gunfire, adding to the song’s intensity. The irony of Strummer posing in a T-shirt supporting the Red Brigades, an Italian leftist militant organization, shortly after the song’s release adds a layer of complexity and controversy. “Tommy Gun” is a powerful and provocative track that grapples with complex political themes.
28. Police and Thieves
“Police and Thieves,” a cover of a Junior Murvin hit produced by Lee “Scratch” Perry, is a striking departure on The Clash. It marked The Clash’s first foray into reggae, albeit played with a punkier edge and featuring a new intro penned by Mick Jones. The song became a pivotal moment in the burgeoning cross-pollination between punk and Jamaican music. Bob Marley himself, who collaborated with Perry, acknowledged this growing connection with his song “Punky Reggae Party” that same summer, solidifying the cultural exchange. “Police and Thieves” showcased The Clash’s musical curiosity and their willingness to incorporate diverse sounds into their punk framework.
27. London’s Burning
“London’s Burning,” another track from their debut album, encapsulates the atmosphere of the punk rock summers of 1976 and 1977. With its bone-crunching verses and anthemic chorus, the song is a raw expression of youthful frustration and urban decay. The lyrics paint a vivid picture of the band and the punk movement’s inspirations, from high-rise living to a city “burning with boredom.” “London’s Burning” is a quintessential early Clash track, capturing the raw energy and social commentary that defined their initial sound.
26. Somebody Got Murdered
“Somebody Got Murdered,” from Sandinista!, has an intriguing backstory. According to Pat Gilbert’s book Passion Is a Fashion, producer-arranger Jack Nitzsche approached The Clash to contribute a song to the William Friedkin movie Cruising, but the collaboration never materialized. The song, with its surprisingly upbeat tune and film noir-esque lyrics about a random killing, found its place on Sandinista!. Its effervescent melody juxtaposed with dark subject matter is characteristic of The Clash’s ability to blend contrasting elements in their music.
25. Career Opportunities
“Career Opportunities,” a gem from The Clash, timelessly skewers the limited job prospects for youth in the 1970s. The iconic line, “Career opportunities, the ones that never knock,” perfectly captures the frustration of a generation facing unemployment. The lyric “I won’t open letter bombs for you” is rooted in Mick Jones’s real-life experience of working a government job checking mail for explosives. “Career Opportunities” is a powerful and relatable anthem about social and economic realities, delivered with The Clash’s signature punk energy.
24. Pressure Drop
“Pressure Drop,” the B-side to “English Civil War,” is one of The Clash’s finest covers, originally by Toots and the Maytals. This reggae/ska classic, featured in The Harder They Come, is given a faithful yet energetic rendition by The Clash. Strummer later emphasized that they recorded it in 1977, predating the 2-Tone ska revival, highlighting their early appreciation for and incorporation of Jamaican music. “Pressure Drop” is a testament to The Clash’s diverse musical influences and their ability to seamlessly integrate covers into their repertoire.
23. This Is England
The Clash in New York City, September 1978: Joe Strummer, Paul Simonon, Mick Jones, and Topper Headon.
“This Is England,” from the much-maligned Cut the Crap album, stands out as a final, terrific single from a band in its fractured state. By this point, Topper Headon and Mick Jones had been dismissed, and The Clash was a five-piece with a significantly altered dynamic. Despite the album’s overall weaknesses, “This Is England” is a powerful track driven by keyboards and guitars, featuring Strummer’s withering commentary on the state of his nation. It serves as a poignant, if somewhat unexpected, final statement from The Clash’s later period.
22. Gates of the West
“Gates of the West,” from the Cost of Living EP, continues The Clash’s exploration of American themes, following “I’m So Bored With the USA.” Based on an early Mick Jones composition, “Rusted Chrome,” the song describes their experiences in New York City. With its Springsteen-esque imagery, characters, and anthemic feel, “Gates of the West” reflects The Clash’s evolving musical landscape and their fascination with American culture, even as they maintained a critical perspective.
21. Hitsville UK
“Hitsville UK,” from Sandinista!, is a surprising and delightful ode to pop music. It namechecks emerging UK independent labels and celebrates the power of a great “two minutes 59” single to overcome industry machinations. With its Motown-inspired groove and a sugary duet between Mick Jones and his girlfriend, Ellen Foley, “Hitsville UK” alienated some of The Clash’s hardcore punk fans. However, it showcases the band’s genre-bending tendencies and their appreciation for the craft of pop songwriting.
20. Police on My Back
“Police on My Back” is another excellent example of The Clash’s skill in covering songs and making them sound distinctly their own. Originally by Eddy Grant’s band, The Equals, The Clash transformed it into a high-octane chase anthem. Mick Jones’s guitar wails like a siren, and the song pulsates with adrenaline, perfectly capturing the feeling of being pursued by the police. “Police on My Back” demonstrates The Clash’s ability to take existing material and infuse it with their unique energy and style.
19. Lost in the Supermarket
“Lost in the Supermarket,” in the tradition of songs like The Rolling Stones’ “(I Can’t Get No) Satisfaction” and X-Ray Spex’s catalog, critiques the dehumanizing effects of consumerism and advertising. Penned by Strummer and sung by Jones, the lyrics explore the alienation and artificiality of modern consumer culture, exemplified by lines like, “I came in here for that special offer / A guaranteed personality.” “Lost in the Supermarket” is a clever and insightful commentary on society, delivered with a catchy melody and relatable themes.
18. I Fought the Law
“I Fought the Law,” reportedly discovered by the band on a jukebox in San Francisco while recording Give ‘Em Enough Rope, is a quintessential Clash smash. Originally by The Bobby Fuller Four, The Clash transformed it into an outlaw anthem filled with rebellious posturing and Topper Headon’s signature drum fills. Despite the songwriting credits, it’s undeniably a Clash song, embodying their energy, attitude, and ability to take existing material and make it their own.
17. Death or Glory
“Death or Glory” is Joe Strummer’s ferocious and introspective blast at aging and the potential for rock stars to sell out. The song builds to a powerful climax, with Strummer fearing he might succumb to a similar fate. The inclusion of the infamous, humorous line, “But I believe in this and it’s been tested by research / He who fucks nuns will later join the church,” likely prevented it from being released as a single. “Death or Glory” is a raw and honest exploration of artistic integrity and the pressures of fame.
16. Safe European Home
“Safe European Home” is a self-deprecating and insightful track born from The Clash’s experiences in Kingston, Jamaica. Intended as a creative trip to inspire Give ‘Em Enough Rope, their time in Jamaica proved to be a rude awakening. The lyrics reflect on the cultural and economic disparities they witnessed, with lines like, “I went to the place where every white face / Is an invitation to robbery / And sitting here in my safe European home / Don’t want to go back there again.” “Safe European Home” is a unique example of Clash self-mockery and social observation.
15. Clampdown
“Clampdown,” a highlight from London Calling, was inspired by the Three Mile Island nuclear accident and Strummer’s growing concern about capitalism’s impact on people and the planet. The song is a fiery and timeless anthem that blends rock, funk, and disco elements, showcasing The Clash’s musical versatility. “Clampdown” reflects the band’s expanding musical horizons and their continued commitment to addressing social and political issues in their music.
14. Garageland
“Garageland” is a defiant response to rock critic Charles Shaar Murray’s dismissal of The Clash as a “garage band” in an early live review. The song also reflects the band’s anxieties about “selling out” by signing to a major label. It’s a furious yet melancholic anthem, with lyrics like, “People ringing up making offers for my life / But I just wanna stay in the garage all night.” “Garageland” is a powerful statement of artistic independence and a rejection of commercial pressures.
13. The Card Cheat
“The Card Cheat” is a musically rich and evocative track, seemingly channeling Mick Jones’s affection for Mott the Hoople, and foreshadowing bands like The Libertines. Featuring horns, drum rudiments, a sublime piano hook, and vivid imagery (“To the opium dens and the bar room gin … The gambler’s face cracks into a grin”), the song tells the story of a card sharp who is shot for cheating. “The Card Cheat” is a testament to The Clash’s ability to craft cinematic and musically sophisticated songs.
12. Spanish Bombs
“Spanish Bombs,” a favorite of the late Michael Hutchence of INXS, boasts a glorious melody and lyrics that juxtapose the freedom fighters of the Spanish Civil War with modern tourists. Strummer sings part of the song in what he called “Clash Spanish,” adding another layer of cultural complexity. “Spanish Bombs” is a musically beautiful and lyrically rich track that explores themes of history, revolution, and cultural exchange.
11. Rock the Casbah
“Rock the Casbah,” a club and chart hit from Combat Rock, was largely written and musically composed by Topper Headon. It innovatively blends rock, funk, and a hint of Eastern musical influence. Strummer’s lyrics were inspired by Iran’s post-Islamic revolution ban on pop music, envisioning a scenario where the people would rise up and “rock the casbah.” “Rock the Casbah” is a testament to The Clash’s ability to create commercially successful songs while maintaining their musical innovation and social commentary.
10. Train in Vain
“Train in Vain,” a sublime and unrequited love song penned by Mick Jones, was a late addition to London Calling. Originally intended for an NME flexidisc, it was added to the album after the sleeves had already been printed, hence its absence from the initial track listing. Pete Townshend’s favorite Clash tune, “Train in Vain” showcases the band at their most unabashedly poppy. Topper Headon’s iconic drum intro launches into one of the rhythm section’s funkiest grooves, making “Train in Vain” a timeless and beloved Clash track.
9. Stay Free
“Stay Free” is Mick Jones’s heartfelt tribute to his old school friend Robin Crocker, who became known as Robin Banks after a series of heists led to his imprisonment. The song is a poignant reflection on friendship and diverging life paths. Adding to the song’s lore, some fans were amused to learn that Banks later punched Sandy Pearlman, the producer of Give ‘Em Enough Rope, who was criticized for giving the album a glossier, less punk sound. “Stay Free” is a deeply personal and resonant song within The Clash’s catalog.
8. The Magnificent Seven
“The Magnificent Seven” marks The Clash’s pioneering foray into hip-hop. Having already explored punk, reggae, ska, dub, and rockabilly, they absorbed the emerging hip-hop sounds they encountered in New York. Strummer became an unlikely white rap pioneer, delivering inspired and often nonsensical wordplay over a compelling groove. “The Magnificent Seven” is a bold and innovative track that showcases The Clash’s relentless musical curiosity and their willingness to embrace new genres.
7. The Call Up
“The Call Up,” released as a single from Sandinista!, directly addresses the political climate of the time, specifically the Russian invasion of Afghanistan and the US’s potential reintroduction of the draft. The Clash spearheaded anti-war sentiment with this fantastic song. Strummer’s impassioned cries, “It’s up to you not to heed the call up / I don’t wanna die … I don’t wanna kill,” resonate over an eerily reggae-influenced backdrop. “The Call Up” is a powerful and timely anti-war anthem that showcases The Clash’s political engagement.
6. Bankrobber
“Bankrobber,” produced by Mikey Dread, is a gem that almost slipped through the cracks, initially intended as an import-only 45. Despite this limited release, it reached No. 12 in the UK charts, demonstrating its immediate appeal. Blending dub music with folk storytelling, the song creates a unique and captivating soundscape. While Strummer’s “daddy” wasn’t actually a bank robber but a diplomat, the song’s narrative and Mikey Dread’s production make “Bankrobber” a standout track in The Clash’s diverse discography.
5. London Calling
“London Calling,” The Clash’s highest-charting UK single until “Should I Stay or Should I Go” reached No. 1 in 1991 due to a Levi’s advertisement, is an apocalyptic masterpiece. Years before widespread climate change awareness, Strummer’s lyrics express fears of an impending biblical disaster, with the iconic line, “London is drowning and I live by the river.” “London Calling” is a powerful and prescient song that captures anxieties about the future and solidifies The Clash’s status as socially conscious artists.
4. Armagideon Time
“Armagideon Time,” the B-side to the “London Calling” single, is a superb reworking of Willie Williams’ social justice anthem. It’s considered the definitive example of The Clash playing reggae. Strummer’s shouted “OK, OK, don’t push us when we’re hot” is a direct retort to then-manager Kosmo Vinyl, who urged the band to shorten the song. “Armagideon Time” is a powerful and politically charged track that exemplifies The Clash’s mastery of reggae rhythms and their commitment to social commentary.
3. Complete Control
“Complete Control” is The Clash’s punk-era high watermark, born out of their frustration with CBS releasing “Remote Control” as a single against their wishes. Produced by Lee Perry, the song is a furious response to corporate control and artistic compromise. Strummer’s yelled “You’re my guitar hero!” during Mick Jones’s blistering guitar solo is a goosebump-inducing moment. “Complete Control” is a raw and powerful statement of artistic defiance and a quintessential punk anthem.
2. Straight to Hell
“Straight to Hell,” from Combat Rock, is powered by Topper Headon’s bossa nova rhythm and a haunting musical hook, later sampled by MIA in “Paper Planes.” Despite the band’s internal fractures at this point, “Straight to Hell” is a cohesive and powerful track. Strummer rightly called this vengeful tirade against imperialism and the plight of Vietnamese women left behind by American soldiers “one of our absolute masterpieces.” “Straight to Hell” is a haunting and impactful song that showcases The Clash’s lyrical depth and musical innovation even as they approached their breaking point.
1. (White Man) in Hammersmith Palais
“(White Man) in Hammersmith Palais” tops this list, though any of The Clash’s best songs could arguably hold this position. The song’s innovative fusion of reggae verses and rock choruses perfectly embodies Lester Bangs’ description of The Clash’s sound as a blend of “black music and white noise.” Lyrically, a disappointing reggae gig at the Hammersmith Palais sparks Strummer’s wide-ranging state-of-the-nation address. He tackles themes from the commercialization of rebellion to racism and rising nationalism. Forty-two years later, “(White Man) in Hammersmith Palais” remains a tour de force, as relevant and potent as ever, solidifying its place as The Clash’s ultimate masterpiece.
Explore the 40th-anniversary super deluxe editions of London Calling, available now from Sony.
