The Clash
"Sandinista!"
1980
CBS Records (UK)
Sandinista! was The Clash's affirmation of their support for the Nicaraguan revolution, the movement that overthrew President Somoza and aroused the ire of U.S. President Reagan. The music was a more conscious exploration of reggae and dub music than the Clash had ever attempted. The group fought their record company to keep the 3-LP set affordable to their fans, accepting lower royalty rates so the price would be as low as a single LP.
Side 1:
1. The Magnificent Seven
2. Hitsville U.K.
3. Junco Partner
4. Ivan Meets G.I. Joe
5. The Leader
6. Something About England
Side 2:
1. Rebel Waltz
2. Look Here
3. The Crooked Beat
4. Somebody Got Murdered
5. One More Time
6. One More Dub
Side 3:
1. Lightning Strikes (Not Once But Twice)
2. Up In Heaven (Not Only Here)
3. Corner Soul
4. Let's Go Crazy
5. If Music Could Talk
6. The Sound Of The Sinners
Side 4:
1. Police On My Back
2. Midnight Log
3. The Equaliser
4. The Call Up
5. Washington Bullets
6. Broadway
Side 5:
1. Lose This Skin
2. Charlie Don't Surf
3. Mensforth Hill
4. Junkie Slip
5. Kingston Advice
6. The Street Parade
Side 6:
1. Version City
2. Living In Fame
3. Silicone On Sapphire
4. Version Pardner
5. Career Opportunities
6. Shepherds Delight
Mick Jones (vocals, guitar)
Joe Strummer (vocals, guitar)
Paul Simonon (vocals, bass)
Topper Headon (drums, percussion)
[quote]If there is one band that represents what punk music was and always should be about, it has to be The Clash. Forming in London in 1976 in the immediate wake of the Sex Pistols and the Ramones, the band's line-up consisted of Joe Strummer, Mick Jones, Paul Simonon, and first Terry Chimes then later, Nicky "Topper" Headon on drums. Chimes returned again in 1982. Where the Sex Pistols were starkly nihilistic, the Clash were idealistic. Stimulated with righteousness and a leftist political ideology, they sang about racism, police brutality and disenfranchisement challenging well-worn beliefs. A mix of high-end guitar and low, melodic bass gave the Clash a sound founded with the Sex Pistols and the Ramones. However the Clash were more musically adventurous than their contemporaries, augmenting their rock & roll with gospel, reggae, rockabilly, funk, soul and other roots music quickly developing their own distinct style.[/quote]
The Setup:
-Music Hall MMF-5 turntable with Goldring G1012 cartridge
-Music Hall Cruise Control speed box
-Cambridge Azur 640P phono pre-amplifier
-NAD C352 integrated amplifier
-E-MU 0404 External Soundcard (ASIO)
-Blue Jeans Cables interconnects
The Process:
>> Recorded using Steinberg Wavelab 5 (24Bit96kHz)
>> Click Repair with light settings was used on all tracks to clean up any major clicks or pops (24 bit/96kHz)
-DeClick 20
-DeCrackle 0
>> Stray clicks and pops manually removed using Adobe Audition 2.0 (32 bit float/96kHz)
***No other Noise Reduction or EQ software was used***
>> DC Bias removed from all tracks using Adobe Audition 2.0 (32 bit float/96kHz)
>> Amplified 5 decibels each track using Adobe Audition 2.0 (32 bit float/96kHz)
>> 2496 wave files downsampled to 1644.1 using Adobe Audition 2.0 (dithering 0.8, triangular p.d.f, no noise shaping)
>> Cue sheet included with 0-second gaps.
[img]http://img230.imageshack.us/img230/5971/thecallupxo7.jpg[/img]
"Its up to you not to heed the call-up
You must not act the way you were brought up
Who knows the reasons why you have grown up?
Who knows the plans or why they were drawn up?
All the young people down the ages
They gladly marched off to die
Proud city fathers used to watch them
Tears in their eyes
There is a rose that I want to live for
Although, God knows, I may not have met her
There is a dance and I should be with her
There is a town, unlike any other..."
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