White Riot

The Clash - Sound System (2013) {11CD+DVD Box Set, Columbia 887254600022 rec 1977-1982}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 3.59 Gb | MP3 @320 -> 1.20 Gb
Full Artwork @ 300 dpi (JPG) -> 1.10 Gb | 5% repair rar
DVD9 -> 6.83 Gb | All Regions | NTSC 4:3 | Dolby AC3, 2 ch | ISO Image
© 1977-82, 2013 Columbia / Sony Music | 887254600022
Rock / Punk Rock

The Clash's Sound System is the band’s re-mastered recorded works collected together for the first time. Contained within classic boombox packaging designed by Paul Simonon, this boxset contains the band’s five seminal studio albums in their original eight-disc format, newly re-mastered by The Clash; a further three discs featuring demos, non-album singles, rarities and B-sides; a DVD with previously unseen footage by both Don Letts and Julien Temple, original promo videos and live footage; an owner’s manual booklet; reprints of the band’s original Armagideon Times fanzine as well as a brand new edition curated and designed by Paul Simonon; and merchandise including dog tags, badges, stickers and an exclusive Clash poster.

Riot’s story is one of what might have been, and to some degree, a band being (or not) in the right place at the right time. What this 6 CD live collection does offer is unique, and often raw, insights into the growth and development of an influential hard rock and heavy metal band, as they graduated from small clubs in 1976 through to huge festivals in 1980. Mastered from tapes in the collection of the estate of founder member and guitarist Mark Reale.

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.