Darcy saw The Clash when they went to Santa Barbara, California in the early 80's. "I went to every show I could!! Here's a stub from when they played with The English Beat! I will always love The Clash!!"
Fumi Yamamoti saw The Clash at Shibuya Kokaido, Tokyo, in 1982, at the age of 16, 4 months before the band released Combat Rock. The first song of the set, on the first day of the Japanese tour, was the then-unreleased, 'Should I Stay or Should I Go'. "It has become an unforgettable memory of my lifetime".
Pedro Lopes Patrão was 14 years and 5 months old when he saw the Clash play a 3 hour show in Cascais, a small town 30 km out of Lisbon. "It was, is and will be, the concert of my life. Will never forget Joe Strummer singing, palying the guitar and doing push-ups on stage"
While Mick Jones's spirited garage rock tune Should I Stay Or Should I Go enjoyed significant radio play, the single was released as a 'double A-side'.
Rock the Casbah
Single, released: 11 June 1982
Developed from a piano riff that Topper Headon had written, the drummer's words were eventually replaced with Joe Strummer's lyrics about rock music being banned under fundamentalist religious regimes.
The Clash at the Manchester Elizabethan Suite in 1977
Tune in to BBC Radio 6 on Wednesday April 18th as host Steve Lamacq is joined by The Clash's Mick Jones and Paul Simonon for an hour long special looking at the making of their seminal album London Calling.
Recalling the political climate in 1979, refusing to let record label bosses leave until they acknowledged the album's brilliance, dropping their equipment into the Thames and how the album's success was built on the "Three R's" -- Writing, Recording and Rehearsing.
Recorded in New York in April 1980, this single was one of the first ever rap records made by a British band and one of the earliest rap records full stop.
Black Market Clash
Album, released: 1 March 1981
Released as a 10" vinyl, this rarities album included a version of Capital Radio, made available as a 7" EP in 1977 by the NME.
Single, released: 16 January 1981
Celebrating the growth of the independent music scene in Britain, led by labels like Rough Trade and Factory, this track features Meat Loaf's backing singer Ellen Foley on guest vocals.
Album, released: 12 December 1980
Controversially released as a 'triple' on three vinyl discs, the record shows the group on a creative roll, adding dub, rap and jazz to an already diverse musical palette
The Call Up
Single, released: 21 November 1980
This song confronted the issue of conscription into the armed forces, a threat which remained in America following the Vietnam War.
Single, released: 8 August 1980
Claiming that the song sounded like 'David Bowie backwards', the record company refused to release this track until six months later, when the Dutch import edition of the single started selling heavily.
This week in 1978 The Clash release 'White Man in Hammersmith Palais' on 7" vinyl with 'The Prisoner' as b-side.
The second US 7" coupled the last track on the London Calling LP (which was not listed on the album's sleeve) with the title track of the album.
Single, released: 14 December 1979
Album, released: 14 December 1979
Originally released as a double LP, London Calling was recorded with maverick producer Guy Stevens.
The US release came a month later, on January 10th 1980.
Single, released: 7 December 1979
This song was written while Strummer was living beside the River Thames on the World's End estate in Chelsea, fuelling the lyrics' apocalyptic vision and the line 'London's drowning but I live by the River'.
Listen in now to exclusive 30-40 min documentary style podcasts recorded at Wise Buddah Studios in London in June 2013.
Featuring Mick, Topper and Paul in coversation with Johnny Green - their tour manager - on their cultural influence and sharing their fabourite music. In the two chapters out now, the band reflect on the Notting Hill Riots in 1979 and their unique reggae connection.
Follow to listen to more over the coming weeks, when we'll add more chapters on who they toured with and what they were all listening to, their sold out shows, sneaking people into gigs, heading to America and Jamacia and Joe's move to Paris.
Exploring the cult appeal of extremist groups like the Red Brigade and Baader-Meinhoff Gang, this single contains drummer Topper Headon's first major contribution to a Clash song- his signature machine-gun drum roll.
Give 'Em Enough Rope
Album, released: 10 November 1978
The first LP to feature drummer Topper Headon, this record was produced by Blue Oyster Cult's mentor Sandy Pearlman.
The judge said five to ten, but I say double that again
I'm not working for the clampdown
No man born with a living soul
Can be working for the clampdown
Kick over the wall 'cause governments to fall
How can you refuse it?
Let fury have the hour, anger can be power
D'you know that you can use it?
This single was the first original song to directly combine rock with reggae.
Clash City Rockers
Single, released: 17 February 1978
The 'rockers' of the title refers to a style of reggae, though the song is propelled by a variation on The Who's crashing I Can't Explain riff.
Single, released: 23 September 1977
Written at Mick Jones's grandmother's flat on the 18th floor of a council tower block in west London, this track references the unauthorized release of Remote Control and the trouble the band encountered during the White Riot Tour.
Can you really cough it up loud and strong
They wanna sing all night long
It could be anywhere
Most likely could be any frontier
No man's land and there ain't no asylum here
King Solomon he never lived round here
Tim Watts and his wife Coleen saw The Clash live five times, including the Friars and Dunstable gigs in 1978, as 14 and 16 year old punks. Have a look at some cuttings from Tim's scrapbooks... #myclashcollection
New range just in at the Clash Store including sweatshirts and tees. For this month only, a selection of tees are reduced to £10.00 / $15.00 each, while stocks last. Have a look here: SmartUrl.it/ClashStore
Poster for 'Rude Boy'. The film, released in 1980 was part fiction, part rockumentary and featured live footage of The Clash. It followed the story of a fan who leaves his job to become a roadie for The Clash.