Attitude and intelligence come together
People who are after a one album purchase will prefer the US version. It includes a number of other hits that were circulating around that time and leaves off some of the weaker numbers off the UK album. I'm sure purists or completists will not agree with me on this point. To me, this album is punk (along with London Calling). This album belongs in an era which will never, can never come again. It is a product of its time but has aged extremely well.

The songs which are on this version but not on the UK version are all strong, and were either singles, B-sides, or rerecorded later - Clash City Rockers, Complete Control, White Man in Hammersmith Palais, Jail Guitar Doors, and the cover of "I fought the Law". Completists will get the UK version and the singles collections, but for someone who wants a really strong songlist - this is the one to get.

Joe Strummer's voice pulses with feeling. The lead guitar breaks are all short and choppy like an optimistic birdsong of hope in a new nihilistic world. The drums pedal along like soft hoofbeats of a galloping horse. As the song "Garageland" says - a response to critics who said they were a garage band that should be returned to the garage, preferrably with the car still running(!) well we all know who was right in the end!

The greatest version of the second greatest british punk album ever made
And yes, that does mean that I still take Never Mind The Bollocks over The Clash debut, yet it is close. However, what is not close is the difference in quality between the U.S. version of this album and the U.K. version (even if I do love "Janie Jones" opening the album, just like High Fidelity's Rob Gordon). The reason there is no competition between the two versions is simple, "Complete Control". The greatest song from The Clash and also the greatest punk anthem ever, and I do mean ever. That one song kicks "God Save The Queen", "Blitzkrieg Bop", "Los Angeles", and "Ever Fallen In Love" all to the curb, and it is The Clash's greatest moment despite the brilliance of "London Calling".

If that song weren't enough, quite a few of the weak numbers from the U.K. version are gone, and instead you get "Clash City Rockers" in addition to "Complete Control", and even "WHITE MAN In HAMMERSMITH PALAIS"! While the U.K. version may have a few good numbers in "Janie Jones", "Hate And War", "I'm So Bored With The USA", and "White Riot" (Probably their second best song in my opinion), the U.S. version has all those songs plus the three I just mentioned, PLUS The Clash's version of "I Fought The Law". The choice is incredibly easy, get this album now and it is more than enough of an antidote for the horrible music of today, this is the kind of music that can change your life. Not to mention it rocks like a steamroller.

Take your pick from two versions
The Clash were among the topmost important punk groups, having the power and the passion in spades, and a sincerely egalitarian ethos in the lyrics of Joe Strummer, who perhaps even more than John Lydon embodied the spirit of 1977. Their first album snarled into the shops in April 1977 in the UK and Canada, but was not available in America for over two years except on import, and was then released in a revised format, five tracks being replaced by various singles.

Out went White Riot (the later single version was substituted, replete with police siren, smashing glass and alarm effects), Deny, Cheat, Protex Blue and 48 Hours. In their place were added the singles Clash City Rockers (1977), Complete Control (co-produced with mad reggae genius Lee Perry)(1977), (White Man) In Hammersmith Palais (1978), I Fought The Law (1979) and Jail Guitar Doors (the B-side of Clash City Rockers), making it almost ten minutes longer than the original album. The tracking order was also completely re-sequenced.

I Fought The Law, an old Crickets number that the Clash had learned from the Bobby Fuller Four hit version found on a San Francisco jukebox, had just been released as the band's first US single, with (White Man) In Hammersmith Palais on the other side. If you own the 3CD Clash overview The Clash on Broadway then you already own the four missing songs. Joe Strummer actually approved of the revised album, telling a music journalist some years later, "It makes a good collection. If you've never heard the group before, it's a good bunch of tunes."

The original album [The Clash] was produced by their regular sound man Mickey Foote and engineered by Simon Humphrey at CBS Studio 3 in Whitfield Street, London over three weekends during February 1977. The regular Clash line-up of Joe Strummer (vocal, rhythm guitar), Mick Jones (lead guitar, vocal) and Paul Simonon (bass guitar) was augmented by Terry Chimes, yet to become a full-time member at the time of recording, on drums. He had left the band by the time of Clash City Rockers and Nicky 'Topper' Headon plays on all the added US tracks apart from White Riot. The single White Riot (and its B-side, 1977) had been recorded at Whitfield Street on 28 January 1977.

There are some classic Clash songs that were to remain in their repertoire throughout, and that stand up today. Indeed live versions of London's Burning, What's My Name and Career opportunities appear on the album From Here to Eternity: Live, recorded between 1978 and 1982. It also has live versions of added songs Complete Control, Clash City Rockers, (White Man) In Hammersmith Palais, Capital Radio and I Fought The Law.

The original album's one cover version, added at the end of the sessions as a make-weight, was their tribute to Lee Perry, the Junior Murvin single Police And Thieves, to which they bring their own inimitable style very successfully. It led to the Lee Perry-produced single and to Bob Marley subsequently name-checking them on Punky Reggae Party. Other Clash favourites included Remote Control (later extracted as the second UK single), Janie Jones, I'm So Bored With The USA, Garageland, and, of course, White Riot.

The version of White Riot heard on the UK version of The Clash is not the version released as their first UK single and is the sole track on the album not to have been recorded at Whitfield Street. Inspired by the Notting Hill Riots of 1976, it had been in their repertoire since September 1976, usually played considerably faster than either of the recorded versions, and had been demoed for Polydor in November before they signed with CBS. The LP version predates the single and was recorded in Beaconsfield at the National Film and Television School using some freebie time they'd wangled via Julian Temple in January 1977, with Mickey Foote making his debut in the producer's chair. The US album and all future compilations seem to have preferred the single version of White Riot, so it appears the Beaconsfield version is only to be found on the original The Clash album.

Early copies of the US album came with a free single containing Groovy Times and Gates Of The West. Along with I Fought The Law and a new recording of Capital Radio, these had comprised the UK release in May 1979 of The Cost Of Living EP. It would have been a nice touch if the three tracks not on the US album had been added as bonus tracks, but all three can be found on Super Black Market Clash, and the freebie single is on The Clash on Broadway.

The UK and US versions serve slightly different purposes, the US version being a useful collection of tunes whilst the UK version is the authentic original album, a snapshot statement of the band conceived at a crucial moment in their history. Take your pick.

I like the Clash
If I was a teacher of a class in which it was fitting to play music for my students and show off what the categorical style of rock n' roll is supposed to be like, I would play the original version of I fought the Law and I would say, 'this is good, this is good.' Then I would pull out this cd and I would play the Clash's version and I would say, 'this is great, this is great!' Hopefully, the students would catch on and would then go off and digest the differences.

I wonder how many of the students would come back the next day with much feedback. I would hope so.
This music is creatively ensembled with a lot of heart and smartness. It may be a tad bit lenghty, like maybe there should be 14 1/2 songs instead of 15, but outside of that, I guess you could say it's nearing rock n' roll completion. I am not a really big fan of reggae but I'm not against it either, and White Man ... is such a great rock tune (which is overtoned to the gills with great reggae).

Career Opportunities is like an idol of insight to my poor mortal career-laden body, and it's radically desirable to the ears.

I would fetch this album out of a burning house.

THE GREATEST "PUNK ROCK" ALBUM
Though I have a hard time saying for shure, this is probably my favorite Clash album. Its passion for the raw hardcore punk style has always been entertaining. Even though the Pistols style was slightly more hardcore it misses the intelegence and creativity of this album. This set the standard for many punk bands to follow, a true Punk Rock gem. Rest in peace Joe Strummer.Though its impossible to know for certain in this case, I really hope he made it.