The 5 most underappreciated B-sides from The Clash – Far Out Magazine

The Clash have a special place in my heart. Not only because London Calling was the first album I was ever given, but because they opened the door to countless other genres. In this way, The Clash have always been something of a gateway drug; introducing fans to reggae, dub, disco, and even hip-hop.

Once billed as the only band that matters, The Clashs immense output is certainly something to behold. With singles like Lost In The Supermarket, I Fought The Law, and London Calling, The Clash cemented themselves as a uniquely British entity and one of the most pioneering bands of the 1970s punk boom.

But in this article, well be looking, not at their big-hitters, but at their shimmering array of B-sides. In the streaming age, in which we are faced with the same well-known tracks time and time again, the joy of B-sides like City Of The Dead and Mustapha Dance, can easily slip beneath the radar; songs which are as good, if not better, than any a-side.

Well, never fear. Below, well be casting a light on some of the most underappreciated songs in The Clashs discography.

The B-side to The Clashs seminal track London Calling, the fearsome Armagideon Time reveals the bands shared love of dub reggae. The groups original bassist, Paul Simonon, grew up in Brixton, an area of South London with a large West Indian community.

As a result, reggae, ska, and dub formed the very foundation of much of The Clashs most intoxicating material. By the time London Calling came out, the group had already collaborated with Lee Scratch Perry and covered Junior Murvins Police and Thieves on their debut record. This B-side is a heavy dub cover of Willie Williams original political anthem of the same name and showcases The Clash at their very best.

Simonons bass guitar forms a rhymic centre point, around which Mick Jones offers up his characteristic stabs of crystalline guitar and layers of electric sitar.

This track was originally recorded by The Maytals in 1969 and was released by Trojan Records in 1970. Trojan was a critical label for bands such as The Clash and was instrumental in introducing reggae to a worldwide audience. In an interview, Frederick Toots Hibbert described the original song as being about revenge, but in the form of karma: If you do bad things to innocent people, then bad things will happen to you. The title was a phrase I used to say. If someone done me wrong, rather than fight them like a warrior, Id say: The pressures going to drop on you.'

The Clashs version of the track, which formed the B-side of their 1979 single English Civil War, is almost happy-go-lucky in its outlook. With its harmonious gang vocals, dirt-driven guitars, and two-tone rhythm, it has a whiff of Madness about it. Its absolutely joyous.

A Clash original, Jail Guitar Doors was released on the 17th February 1978 as the B-side of their fourth single Clash City Rockers. The song is essentially a re-worked version of Lonely Mothers Son a track from Joe Strummers previous band, The 101ers. It even shares the same chorus, Clang clang go the jail guitar doors.

The song went on to inspire the name of Billy Braggs charitable venture, Jail Guitar Doors initiative. Bragg set it up with the aim of providing musical equipment for the use of inmates serving time in prisons. The project also funded various individual projects such as recording sessions in UK prisons and for former inmates throughout the United Kingdom.

This B-side to The Clashs 1982 Rock The Casbah, is a bass-heavy reworking of the A-side. It is a proto-dance floor-filler, inspired by the remix culture that flourished in clubs throughout the mid-70s. For me, this spliced and reworked version is miles better than the original.

It seems to capture the energy and hedonism of the 80s underground dance scene, foreshadowing the Acid House movement that would soon sweep the nation. The track is also a testament to The Clashs desire to continually push their sound in new, more exciting and danceable directions.

City Of The Dead is, in my opinion, one of the best Clash songs of all time. It forms the B-side to the bands 1977 single Complete Control, and drips with all the things that made The Clash unique. Despite being a punk tune through and through, it contains none of the dystopian nihilism which characterised the output of many of The Clashs contemporaries and indeed much of their own work.

Rather, the ear-catching melody played by the horn section gives the track an undeniably hopeful mood, and the whole thing shimmers with a sort of childish vitality. Why The Clash decided to stick it on the B-side, Ill never know.

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The 5 most underappreciated B-sides from The Clash - Far Out Magazine