The Clash

The Clash
Company type	Band
Industry	Music
Founded	1976 in London, England
Founder	Joe Strummer, Mick Jones, Paul Simonon, Terry Chimes
Headquarters	London, England
Products	Music albums, singles

The Clash emerged as an English rock group established in London in 1976. Promoted as "The Only Band That Matters," they played a pivotal role in shaping the initial British punk rock surge, incorporating diverse influences from reggae, dub, funk, ska, and rockabilly. Additionally, the band played a significant part in the development of the and new wave genres. The principal lineup consisted of lead vocalist and rhythm guitarist Joe Strummer, lead guitarist and vocalist Mick Jones, bassist Paul Simonon, and drummer Nicky "Topper" Headon.

The Clash achieved both critical acclaim and commercial success in the UK with their first two albums, The Clash (1977) and Give 'Em Enough Rope (1978). Their third album, London Calling (1979), marked a bold musical evolution that broadened their appeal to the American audience, following its UK release. This album was later honored by Rolling Stone as the top album of the 1980s. Continuing their experimental approach on Sandinista! (1980), they reached peak commercial popularity with Combat Rock (1982), which included the US top-10 single "Rock the Casbah" and earned double platinum status.

Challenges within the band surfaced when Headon departed in 1982 due to heroin addiction, followed by Jones leaving in 1983. The revised ensemble produced their last record, Cut the Crap (1985), before disbanding soon after.

Following Joe Strummer's passing, the group—including original drummer Terry Chimes—was inducted into the Rock and Roll Hall of Fame in 2003. The following year, Rolling Stone placed The Clash at number 28 on its "100 Greatest Artists of All Time" list.

Origins: 1974–1976

Prior to forming The Clash, future members were actively involved in London's music circles. Joe Strummer (born John Graham Mellor) was the lead vocalist and rhythm guitarist for the pub rock outfit The 101ers, which began in 1974. He adopted the stage name Joe Strummer, inspired by his straightforward ukulele strumming while performing as a busker in the London Underground.

Mick Jones served as guitarist for London SS, a protopunk band that rehearsed extensively in 1975 but never performed publicly and only recorded a single demo. Managed by Bernard Rhodes—who worked closely with Malcolm McLaren—London SS maintained connections with the Sex Pistols. Bassist Paul Simonon and drummer Terry Chimes tried out for London SS but were not selected; Nicky Headon briefly played drums with them.

After London SS dissolved early in 1976, Rhodes continued managing Jones. Motivated by witnessing a Sex Pistols show, Jones began assembling a new band. He reached out to Simonon to learn bass guitar and brought on Keith Levene as guitarist along with various drummers. Chimes auditioned and joined briefly before leaving.

The search for a lead singer led to Billy Watts temporarily filling that role. Rhodes then approached Strummer, admired by Jones and Levene for his performances. In April 1976, Strummer saw the Sex Pistols’ defiant live act, recognizing a fresh musical direction emerging.

On 30 May, Rhodes and Levene invited Strummer to rehearse with their group. After hearing Strummer’s song "Keys to Your Heart," Rhodes gave him two days to decide about joining their band aimed at rivaling the Pistols. Strummer accepted within one day. Simonon later remarked that once Strummer joined, "everything started falling into place."

Strummer brought along his friend Pablo LaBritain as a temporary drummer before Terry Chimes became the regular percussionist. Jones noted that Chimes was initially an informal member of the group. Although Chimes was initially unsure about Strummer’s style and age gap, he soon became fully integrated into the band.

Simonon suggested naming the band "The Clash," inspired by its frequent newspaper mentions and its sharp suitability for their sound, replacing earlier names such as Weak Heartdrops and Psychotic Negatives. Bernard Rhodes and others endorsed this choice.

Initial performances and the expanding punk movement: 1976

After less than a month of rehearsals with Strummer, the Clash made their first public appearance on 4 July 1976, opening for the Sex Pistols at Sheffield's Black Swan nightclub. Their goal was to perform ahead of their competitors, The Damned, who would debut two days later. The band did not appear live again for five weeks. Levene became increasingly disillusioned and even proposed to Johnny Rotten of the Sex Pistols that they start a band if the Pistols disbanded.

Shortly after their debut, the Clash joined much of London's punk community to watch a Ramones show, which Strummer described as "the first word of Punk." Nevertheless, tensions surfaced within the punk scene, highlighted by a confrontation between Simonon and J.J. Burnel, bassist of The Stranglers.

Manager Rhodes demanded rigorous rehearsals before their next performance. Strummer characterized joining the Clash as "year zero," focusing on discarding previous influences to forge a unique sound. Songwriting responsibilities were shared between Strummer and Jones, who often collaborated near their Camden rehearsal space. Rhodes encouraged them to write about pressing social matters rather than romantic themes.

Strummer took on most lead vocal duties, with Jones occasionally sharing or leading on prominent tracks. On 13 August 1976, the Clash played at their Camden studio dressed in paint-splattered "Jackson Pollock" style outfits for a small audience that included a favorable review from Sounds magazine.

On 29 August, the Clash and Manchester's Buzzcocks supported the Sex Pistols at The Screen on the Green—a landmark event that helped solidify British punk’s presence. Despite initial criticism from New Musical Express, Strummer credited this show as inspiration for their song "Garageland."

In early September, Levene was dismissed due to concerns over his dedication and alleged drug problems. The band performed without him on 21 September at the 100 Club Punk Special alongside key punk acts. Drummer Chimes departed in late November and was briefly replaced by Rob Harper during December's Anarchy Tour supporting the Sex Pistols.

The Clash promoted progressive left-wing ideals addressing issues such as unemployment and racism. In 1976, Strummer declared: "We're anti-fascist, we're anti-violence, we're anti-racist and we're pro-creative." Jones stressed the importance of fostering independence and advocating for one’s rights.

A violent encounter between Black youths and police at the 1976 Notting Hill Carnival shaped the band's political outlook and inspired Strummer’s track "White Riot." Visuals from these disturbances were later used as stage backdrops and featured on merchandise for their debut album.

Punk breakthrough and national recognition: 1977–1979

By January 1977, punk had become a dominant media sensation across the UK; New Musical Express (NME) proclaimed "1977 is the year of The Clash". On 25 January, the band secured a £100,000 contract with CBS Records, a substantial amount considering their limited live exposure. Clash historian Marcus Gray remarked that the band faced accusations of "selling out" to mainstream interests. Nevertheless, punk figure Mark Perry reversed his earlier doubts after hearing their single "White Riot". One insider later described this deal as a cautionary tale: the band was responsible for financing tours, recordings, and other expenses themselves. Despite initial reservations, Strummer later acknowledged that the contract provided two years of stability along with creative autonomy.

Their debut album was produced by technician Mickey Foote with Terry Chimes returning on drums. The first single "White Riot" reached number 34 on the UK Singles Chart. Released in April, The Clash peaked at number 12 on UK charts and featured lyrics critical of authority and societal issues. The album also included a reggae cover of "Police and Thieves", highlighting the band's increasing reggae influence.

Music journalist John Robb described The Clash as spearheading punk awareness during a period when the Sex Pistols were inactive. CBS initially declined to release the album in the US due to its raw production; however, a modified North American version appeared in 1979 after gaining popularity as an import.

Chimes left after recording because of divergent career ambitions. Only Simonon, Jones, and Strummer appeared on the album cover; Chimes was credited humorously as "Tory Crimes". After auditioning more than 200 drummers, Topper Headon was recruited; his multi-instrumental talents revitalized their sound.

In May, The Clash headlined the White Riot Tour alongside Buzzcocks and others. A London performance at Rainbow Theatre incited a riot that captured front-page headlines. Despite concerns about violence, NME described them as "probably the best band in the country right now." Against their wishes, CBS released "Remote Control"; Headon's debut recording with the group was "Complete Control," which addressed conflicts with their label. Co-produced by Lee "Scratch" Perry, it reached number 28 in the UK and is regarded among punk’s finest singles.

The October 1977 "Out of Control" UK tour encountered disruptions including a cancelled Belfast gig that resulted in confrontations with police known as the "Battle of Bedford Street."

Early in 1978, singles like "Clash City Rockers" and appearances at events such as Rock Against Racism—attended by around 100,000 amid growing far-right activity—cemented their political messaging. June’s "(White Man) In Hammersmith Palais" reached number 32 UK and was voted NME’s single of the year.

Before recording their sophomore album, CBS pressured them to adopt a cleaner sound aimed at American audiences. Producer Sandy Pearlman was brought in; however, Simonon described these sessions as dull and restrictive compared to their debut work. The band replaced manager Bernie Rhodes with journalist Caroline Coon.

Released in November 1978, Give 'Em Enough Rope received mixed reviews in the UK due to its more mainstream approach but climbed to number 2 on UK charts. NME readers ranked it second-best album of 1978; The Clash earned best group honors. In America, it peaked at number 128 on Billboard charts.

The lead single "Tommy Gun" became their highest-charting UK single at number 19—accompanied by their first official video featuring Strummer expressing support for Irish Republican prisoners. They toured North America concluding with a show at New York’s Palladium.

February 1979’s "English Civil War," cautioning against far-right resurgence, reached number 25 UK; its B-side covered Toots and the Maytals' reggae classic "Pressure Drop," underscoring ongoing reggae influences.

Supporting Give 'Em Enough Rope, The Clash toured Britain alongside The Slits and The Innocents on the Sort It Out Tour before embarking on a largely successful North American tour in February.

In June 1979, they released The Cost of Living EP featuring a cover of Bobby Fuller's "I Fought the Law", original compositions, and a re-recording of "Capital Radio". This EP reached number 22 in UK charts. Subsequently, they dismissed manager Coon and commenced a second US tour with Mick Gallagher added on keyboards.

Evolution in sound and American breakthrough: 1979–1982

Between August and September 1979, The Clash recorded their double album London Calling, with production led by Guy Stevens, a former A&R executive. This record fused elements of punk rock, reggae, ska, rockabilly, and classic rock and roll, earning acclaim as one of the finest rock albums ever produced. In the United States, the track "Train in Vain" became their initial top-40 entry, peaking at number 23 on the Billboard charts. Meanwhile, in the United Kingdom, the album’s title track climbed to number 11, marking the band’s highest-charting single prior to their eventual split.

London Calling was released in December 1979, reaching number 9 on the UK album charts and number 27 in the US following its January 1980 release. The album’s cover photo, captured by Pennie Smith, achieved legendary status and was hailed by Q magazine as the "best rock 'n roll photograph ever taken." During this era, The Clash were frequently promoted under the slogan "The Only Band That Matters," a phrase created by CBS Records' creative services member Gary Lucas and enthusiastically embraced by fans and media alike.

Toward the close of 1979, the group attended a private viewing of Rude Boy, a semi-fictional movie portraying a Clash fan who becomes a roadie. Dissatisfied with the film, the band produced badges reading: "I don't want RUDE BOY Clash Film." The movie debuted at the 30th Berlin International Film Festival in February 1980, where it received an honourable mention.

The Clash initially intended to issue a new single every month throughout 1980; however, CBS rejected this plan. Only one single was released that year: the reggae-inspired "Bankrobber", featuring Mikey Dread, which arrived in August and peaked at number 12 on the UK Singles Chart. In October, their American label issued Black Market Clash, an EP compiling B-sides that was later expanded into a full-length album.

December 1980 saw the release of Sandinista!, an ambitious triple album consisting of 36 tracks co-produced with Mikey Dread. The record displayed a wide array of musical influences but sparked controversy due to its political themes and eclectic style. Critical responses were divided; while some sections were praised as outstanding, others criticized it for being overly cluttered. The album reached number 24 in the US and number 19 in the UK charts. Singles from this period included "The Call Up" (UK #40), "Hitsville UK" (#54), and "The Magnificent Seven" (#34). Manager Bernard Rhodes returned to his role in January 1980, and much of that year was devoted to touring.

In December 1981, The Clash released "This Is Radio Clash", which attained number 47 on the UK Singles Chart. Recording sessions for their fifth studio album Combat Rock began in September 1981 with producer Glyn Johns. Released in May 1982, this album featured singles such as "Know Your Rights" (UK #43) and "Should I Stay or Should I Go", which received extensive airplay across US radio stations. "Rock the Casbah", written by drummer Headon—who also contributed percussion, piano, and bass on the track—became their most successful American hit, reaching number eight. The album itself climbed to number two in the UK and number seven on US charts.

Decline and dissolution: 1982–1986

Following the launch of Combat Rock, the Clash began to experience significant internal strain. In May 1982, drummer Topper Headon was removed from the band due to issues related to substance abuse affecting his dependability. Terry Chimes briefly rejoined before Pete Howard took over drumming duties in May 1983. During this period, the band toured the United States as support for The Who’s final tour, including a memorable performance at Shea Stadium.

On 28 May 1983, the Clash shared the stage as co-headliners at the US Festival in San Bernardino, performing before an audience of approximately 140,000 people. Shortly after this event, tensions within the group culminated in bassist Paul Simonon and lead vocalist Joe Strummer dismissing guitarist Mick Jones in September. Subsequently, Nick Sheppard and Vince White were recruited as new guitarists. The revamped lineup introduced fresh songs during their self-funded Out of Control Tour in early 1984, which notably included a benefit concert for striking miners.

In November 1985, the band released Cut the Crap, which featured the single "This Is England" that peaked at number 24 on the UK Singles Chart. Although critical reaction was mixed and Strummer later disowned the album, it reached number 16 on the UK Albums Chart and number 88 in the United States. Strummer expressed particular appreciation for "This Is England" and the track "North and South."

The Clash officially dissolved in January 1986. Strummer later reflected that exhaustion, creative burnout, and his wish to step aside to allow others to lead were key factors behind the breakup.

Collaborations, reunions and Strummer's death: 1986–present

After his departure from the Clash, Mick Jones founded Big Audio Dynamite (B.A.D.), releasing their first album This Is Big Audio Dynamite in late 1985. In 1986, Jones and Strummer worked together on several projects; Jones contributed to two tracks written by Strummer for the Sid and Nancy soundtrack, while Strummer co-wrote and co-produced songs on B.A.D.’s sophomore album No. 10, Upping St.. As Jones concentrated on B.A.D., Strummer embarked on solo ventures and acting roles. Meanwhile, Simonon formed Havana 3am, and Headon recorded a solo album before being imprisoned in 1987 for drug-related offenses.

The compilation The Story of the Clash, Volume 1 was issued in 1988; its re-released single "I Fought The Law" reached number 29 on UK charts. In 1991, a reissue of "Should I Stay or Should I Go" became the Clash’s only UK number-one hit. That same year, "Rock the Casbah" gained airplay on Armed Forces Radio during the Gulf War.

In 1999, Strummer, Jones, and Simonon assembled the live album From Here to Eternity alongside a documentary video titled Westway to the World. On 7 November 2002, it was announced that the Clash would be inducted into the Rock and Roll Hall of Fame in March 2003. On 15 November, Jones and Strummer performed three Clash songs at a benefit concert in London. Although Strummer, Jones, and Headon planned a reunion show for their Hall of Fame induction, Simonon declined participation due to objections over expensive ticket pricing.

Strummer passed away from a congenital heart defect on 22 December 2002, ending any possibility of a full reunion. In March 2003, Strummer, Jones, Simonon, Chimes, and Headon were formally inducted into the Hall of Fame.

Early in 2008, Mick Jones partnered with former London SS member Tony James to create Carbon/Silicon, launching a six-week residency in London. On opening night (11 January), Headon made a guest appearance performing Clash classics "Train in Vain" and "Should I Stay or Should I Go," marking his first stage collaboration with Jones since 1982.

In September 2009, Jones and Headon joined forces with Billy Bragg to re-record "Jail Guitar Doors," supporting Bragg’s charity dedicated to providing musical instruments and lessons to prisoners. Later that year, Simonon and Jones reunited for work on Gorillaz's Plastic Beach title track—their first collaboration in over two decades—and participated in Gorillaz's Escape to Plastic Beach Tour.

In July 2012, Strummer’s daughters spoke about their father’s enduring influence and speculated about a potential Clash reunion had he lived. Jazz Strummer revealed discussions had taken place but were declined due to ethical considerations; she believed such a reunion might have occurred if Joe had survived.

On 9 September 2013 (UK) and one day later in the US, the Clash issued the comprehensive 12-disc box set Sound System, which included remastered studio albums, demos, rare tracks, a DVD with previously unseen footage by Don Letts and Julien Temple, plus exclusive merchandise. Mick Jones and Paul Simonon oversaw production efforts. Alongside this release came 5 Album Studio Set—a collection of their first five studio albums excluding Cut the Crap—and The Clash Hits Back, a two-CD greatest hits compilation.

During a September 2013 interview with Rolling Stone, Mick Jones indicated that a complete reunion was improbable due to differing interests among members but emphasized that their friendship after disbandment remained strong. He confirmed that Sound System would be his last involvement with Clash projects: "This is it for me."

On 6 September 2013, Jones, Simonon, and Headon reunited for an exclusive broadcast on BBC Radio 6 Music, celebrating their legacy and promoting Sound System. In October of that year, Jones revealed that prior to Strummer’s passing they had been working on new material intended for a Mescaleros album; Strummer had also suggested plans to repurpose these songs for a new Clash record.

On 6 April 2022, it was announced that Combat Rock would be reissued under the title 'Combat Rock / The People's Hall', featuring demos with vocals by Ranking Roger. Singles "Rock the Casbah (Ranking Roger)" and "Red Angel Dragnet (Ranking Roger)" were released on 20 May 2022 alongside mixed critical responses.

Founding member Keith Levene passed away on 11 November 2022 in Norfolk, England.

Politics

The Clash's lyrics often reflected leftist political viewpoints. Joe Strummer was a dedicated socialist, and the group was among the first to fuse radical political messages with punk rock, leading NME to dub them the "Thinking Man's Yobs." In contrast to many early punk outfits that dismissed nihilism, the Clash supported liberation causes and allied themselves with organizations such as the Anti-Nazi League. At their 1978 Rock Against Racism event in Victoria Park, London, Strummer sported a shirt referencing far-left militant factions including Italy's Red Brigades and West Germany's Red Army Faction.

According to rock historian Mikal Gilmore, a pivotal episode occurred in 1977 when Strummer tore down a barbed-wire fence that separated the band from a hostile crowd, symbolizing their resolve to break down barriers between artists and audiences. This moment encapsulated the Clash’s philosophy of directly confronting challenges.

Their political ideology was clearly evident in early songs like "White Riot," which called on marginalized white youth to rise up; "Career Opportunities," which critiqued job dissatisfaction; and "London's Burning," portraying urban decay. Artist Caroline Coon observed that these militant-themed tracks resonated strongly during the Thatcher era’s ascent.

The album Sandinista! draws its name from Nicaragua’s left-wing Sandinista National Liberation Front and features politically charged compositions such as "Washington Bullets," condemning covert military interventions, and "The Call-Up," addressing US conscription policies. Music scholars Simon Reynolds and Joy Press characterized Combat Rock's "Straight to Hell" as a poignant reflection on global conflict zones impacting young soldiers.

Rejecting commercial exploitation by the music industry, the Clash maintained affordable prices for tickets and merchandise. They negotiated with CBS to have their double and triple albums London Calling and Sandinista! sold at single-album prices—fully successful for the former and partially for the latter by accepting smaller royalties. These consumer-friendly practices led to ongoing financial losses with CBS, only turning profitable around 1982.

Musical style and influences

Primarily celebrated as a punk rock band, The Clash distinguished themselves within the genre. Stephen Thomas Erlewine of AllMusic noted that while the Sex Pistols were Britain's initial punk rock pioneers, it was the Clash who emerged as the quintessential British punk group. Over time, they expanded their sound by incorporating styles such as reggae, rockabilly, dub, and R&B. Their expansive double album London Calling showcased a diverse musical palette, blending various genres along with experimental rock and influences from new wave. Reggae rhythms, including lovers' rock, were consistently woven into their recordings, especially on London Calling.

Legacy and influence

In 2004, Rolling Stone placed the Clash at number 28 on its list of the 100 Greatest Artists of All Time, while VH1 ranked them 22nd in 2010. The Times described their debut alongside Never Mind the Bollocks, Here's the Sex Pistols as "punk’s definitive statement," with London Calling regarded as "one of rock’s most influential albums." In Rolling Stone’s 2003 ranking of the 500 greatest albums, London Calling secured eighth place—the highest for any punk record—while The Clash was 77th and Sandinista! came in at 404th. The magazine’s 2004 list of top songs placed "London Calling" at number 15, again leading among punk tracks, alongside four other Clash songs. Additionally, "London Calling" ranked 48th in their 2008 list of greatest guitar songs. Its iconic cover art was honored with a UK postage stamp issued by Royal Mail in 2010.

Jake Burns of Stiff Little Fingers cited the Clash’s debut album as a landmark release that shifted punk towards sincere lyrics reflecting everyday life in West London.

The band's influence extended beyond punk into ska and reggae scenes, inspiring movements like 2 Tone. Musicians such as Billy Bragg and Aztec Camera acknowledged their impact. U2’s guitarist The Edge credited the Clash with opening creative avenues for emerging rock artists, while Bono hailed them as "the greatest rock band" who essentially "wrote U2's rule book."

Their inaugural Liverpool gig at Eric’s Club profoundly affected the city’s music culture, witnessed by numerous future influential artists. Jon Langford of The Mekons emphasized their role in 1977 as daring innovators willing to take risks.

American politically charged punk bands including Offspring, Rancid, Anti-Flag, Bad Religion, NOFX, Green Day, Rise Against, as well as early Manic Street Preachers bear clear traces of Clash influence. Rancid are famously described as “incurable Clash zealots,” with their album Indestructible paying homage to Joe Strummer. Beyond rock genres, Chuck D credited The Clash for inspiring Public Enemy’s socially conscious lyricism. In 2019, Chuck D narrated Stay Free: The Story of The Clash, a podcast collaboration between Spotify and BBC Studios.

Biographer Antonio Ambrosio highlights how The Clash inspired cross-cultural musical collaborations seen in bands like Bad Brains, Massive Attack, 311, Sublime, and No Doubt. Jakob Dylan of The Wallflowers has described London Calling as transformative for his life. Their legacy also resonates within garage rock revival acts such as Sweden's The Hives, Australia's The Vines, Britain's The Libertines, and American bands The White Stripes and The Strokes. British groups influenced by them include Babyshambles, The Futureheads, The Charlatans, and Arctic Monkeys.

Use in film and television

The song "Should I Stay or Should I Go" from 1982 gained renewed attention through its prominent placement in Netflix’s 2016 series Stranger Things, set in 1983. Additionally, the film London Town tells the story of a teenager obsessed with The Clash whose life is altered after meeting Joe Strummer in 1979.

Notable covers of the Clash songs

Prior to her international success with "Paper Planes" (2008), which samples "Straight to Hell," artist M.I.A. referenced "London Calling" on her 2003 track "Galang." German punk group Die Toten Hosen recorded a cover of "The Guns of Brixton" in 2006; reggae legend Jimmy Cliff collaborated with Tim Armstrong on a version slated for release in 2011. American-Irish punk band Dropkick Murphys also covered this song on their album Anti Heroes vs Dropkick Murphys (1997).

In June 2009 at Hyde Park, Bruce Springsteen & the E Street Band opened their concert performing "London Calling," later issued on London Calling: Live in Hyde Park. Springsteen joined by Little Steven, Dave Grohl, and Elvis Costello performed it at the 2003 Grammy Awards as a tribute to Joe Strummer. Springsteen & his band also covered “Coma Girl” in 2009 and featured “Clampdown” during some shows on their High Hopes Tour, performing alongside Tom Morello. Moreover, Ben Folds contributed a rendition of "Lost in the Supermarket" for the soundtrack of the animated film Over the Hedge (2006).

The Clash left a significant mark on Spanish-speaking audiences. A tribute album released in 1997 featured Buenos Aires punk bands paying homage; numerous Latin American rock groups—including Todos Tus Muertos, Café Tacuba, Maldita Vecindad, Los Prisioneros, Tijuana No, and Attaque 77—acknowledge their indebtedness to The Clash. Argentina’s Los Fabulosos Cadillacs covered several songs by them and worked with Mick Jones. Paris-based band Mano Negra reflects similar political lyricism and genre blending inspired by The Clash.

In response to Russia's invasion of Ukraine in March 2022, surviving members authorized Ukrainian punk band Beton to rewrite lyrics for London Calling. Produced by Danny Saber in Los Angeles, proceeds from this release support Ukrainian war relief efforts.

Band members

Classic lineup (1977–1982)

Joe Strummer – lead vocals and rhythm guitar (1976–1986; deceased 2002)
Mick Jones – lead guitar along with lead and backing vocals (1976–1983)
Paul Simonon – bass guitar plus backing and lead vocals (1976–1986)
Nicky "Topper" Headon – drums and percussion (1977–1982)

Discography

The Clash (1977)
Give 'Em Enough Rope (1978)
London Calling (1979)
Sandinista! (1980)
Combat Rock (1982)
Cut the Crap (1985)

External links

Official website of The Clash
Legacy Recordings – Official page for The Clash
The Clash Documentary available on YouTube via Google Play
London Calling Exhibit: The Clash