What the hell is this? Though the two-record sprawl of London Calling --with its exploratory mutations of reggae, rockabilly, and even disco--proved that the Clash weren't content to lie fallow in a punk-rock ghetto, nothing prepares you for Sandinista 's messy melange. For 36 tracks (the Clash originally released this as a three-record set for not much more than the price of one), the band tackles everything in sight, including waltz, gospel, disco, children's ditties, funk, reggae, dub, delicate instrumentals, psychedelic explorations--hell, they even play a Clash rocker or two. Though many have said there is a single great album hidden among the three here, it's the pure chutzpah of Sandinista that makes it such a particular pleasure and a brain drain at the same time. It's the document of a band that can do anything and tries to do everything. It's the glorious sound of failure. And if that ain't the Clash, what is? --Tod Nelson Review: London Calling: Thesis, Sandinista!: Anthesis - It wasn't until I listened to all The Clash's albums in order, one after another, that I appreciated London Calling. It came right after an album that started strong until it descended into a series sour lectures from Joe Strummer on what all the new punks were doing (crazy kids!) that play even worse when you actually READ the lyrics. After this, The Clash just goes out and creates a sprawling but disciplined double-album masterpiece that is strong on all the basics--the songwriting and musicianship are just top notch, and everything is just so polished, but not to the extent of being airless or unfun. A proper masterpiece. Sandinista! is often superficially compared to London Calling. Both albums feature a diverse set of experiments in genre-mixing, but other than that they're opposites. London Calling exudes control, tunefulness, and even stability in a way (despite the album's apocalyptic touches). Sandinista! is the opposite: where London Calling is controlled, Sandinista! is out of control. Where London Calling couches its politics in tasteful and tongue-in-cheek contexts (You don't need the laundry, you can take it to the vet!), Sandinista! puts all of it out there plainly and baldly. Where London Calling is cool, Sandinista! is pulsating with white-hot energy. And so on. The closer the examination gets, the more it becomes clear that this improvised, sometimes shrugged-off, dramatic effort is not a case of aping London Calling with diminishing returns, but rather a deliberate departure by the group to try to find a new way of expressing themselves to keep from descending into staleness (as the latter half of Give 'Em Enough Rope threatened to do). Of this album's flaws enough has been said already. Too long, too dense, not enough material to justify the length, would have played great as a double-album or even an LP. Some of it is even true. By my count there are only really 2.5 albums worth of viable material here out of the original three, what between the five final tedious dub tracks and the worthless "Mensforth Hill" (which happens to be "Something About England" played backward, obvious filler), and even that 2.5 is quite a bit to absorb. The process of recording the album led to something a lot less consistently great than London Calling. It's hard to justify calling it the better album, because that's just not true. But it's long been my favorite because, despite the occasional misses ("Crooked Beat" and "Equalizer" for example) and other songs where the musical concepts just don't quite cohere right, the times when it hits are simply astonishing. A song like "One More Time", which (probably intentionally) evokes Elvis's "In The Ghetto", could easily have suffered from the well-meaning, sincere condescension that has made Elvis's effort something of an embarrassment, but Strummer avoids the pitfalls and instead the song--a forthright wail over inner-city poverty--becomes a powerful anthem that has respect for its subjects. "The Call Up" is another example of pure Clash bliss, a vaguely funky number with very direct lyrics that someone with less formidable vocal skills than Joe Strummer would have botched badly (just imagine what Bono would do with a song about young boys going off to war!), but Strummer's lyrics key into the emotions of fathers and sons in a way that makes it resonant instead of preachy. There are plenty of other examples, but it's hard to see these songs as anything other than triumphs of the approach the Clash took to this album: the album thrives on spontaneous, found emotion, and packaging all that up in the London Calling fashion would have been counterproductive. Other highlights include: "Charlie Don't Surf", a surf-and-sitar tune that references Apocalypse Now and just proves how cool these guys were; "Police On My Back", which isn't an original Clash tune but it just rocks so hard; "Magnificent Seven", in which Strummer raps well before it's cool, and so many more. All in all, this is an album that even the most charitable assessment must admit has some flaws. But it has some moments that hit home harder than anything else The Clash ever did, and even with the filler it's never not a highly rewarding listen. Review: the clash sandinista - Ok then, i know its a bold statement to declare a record as being the greatest ever, but thats exactly what im going to do. First of all lets get one thing straight, just because im saying its the best album ever does not mean you will like it. The best album ever for you is the one that means the most. Personal preference is something that just cant be argued. However , i thought the best way to judge the best album ever is to put personal preference aside and simply examine the the entire albums contents as honestly as possible. I did this with a lot of records, im serious, it took me bloody ages. In the end the decision was easy, Sandinista by The Clash is the best album ever. I can hear you laughing at me now as you wonder how i came to this conclusion, well, here's how....First of all Sandinista breaks every rule there is to break when it comes to making an album. Its too long, the songs are in the wrong order, it remixes its own songs on the same album and The Clash liked one song so much they put it on there twice, only the second version is backwards. Its easy to see that the Clash were prepared to take risks and not bore us by repeating a musical formula that so many great bands seem to do a lot of. I can almost here Beatles fans now saying, what ? you think the beatles repeated themselves. Its ok Beatles fans, The White Album is second on my list of best albums ever. Well then , back to Sandinista. Its great to hear an album that hasn't spent to much time in the editing suite , producers tend to seek absolute perfection when it comes to mixdown and perhaps more often than not the magic was there right at the beginning. Sandinista was made in a very small space of time, just three weeks to record 36 songs and i can assure you when it comes to the way it sounds, it is magic. Ultimately its the songs that make a great album and whilst there is no big songs on this album ( what i mean by big is there are no songs that have become deeply entrenched into the human psych, like say All You Need Is Love is or Stand By Me, you get my jist) but the songs on Sandinista are delivered with such awe inspiring passion. The best way to describe Sandinista is that it is a record that starts out feeling like its to much, but after time, it seems like its never enough....... PS you should listen to this record on vinyl only as cd simply compresses out all of its richness.
A**.
London Calling: Thesis, Sandinista!: Anthesis
It wasn't until I listened to all The Clash's albums in order, one after another, that I appreciated London Calling. It came right after an album that started strong until it descended into a series sour lectures from Joe Strummer on what all the new punks were doing (crazy kids!) that play even worse when you actually READ the lyrics. After this, The Clash just goes out and creates a sprawling but disciplined double-album masterpiece that is strong on all the basics--the songwriting and musicianship are just top notch, and everything is just so polished, but not to the extent of being airless or unfun. A proper masterpiece. Sandinista! is often superficially compared to London Calling. Both albums feature a diverse set of experiments in genre-mixing, but other than that they're opposites. London Calling exudes control, tunefulness, and even stability in a way (despite the album's apocalyptic touches). Sandinista! is the opposite: where London Calling is controlled, Sandinista! is out of control. Where London Calling couches its politics in tasteful and tongue-in-cheek contexts (You don't need the laundry, you can take it to the vet!), Sandinista! puts all of it out there plainly and baldly. Where London Calling is cool, Sandinista! is pulsating with white-hot energy. And so on. The closer the examination gets, the more it becomes clear that this improvised, sometimes shrugged-off, dramatic effort is not a case of aping London Calling with diminishing returns, but rather a deliberate departure by the group to try to find a new way of expressing themselves to keep from descending into staleness (as the latter half of Give 'Em Enough Rope threatened to do). Of this album's flaws enough has been said already. Too long, too dense, not enough material to justify the length, would have played great as a double-album or even an LP. Some of it is even true. By my count there are only really 2.5 albums worth of viable material here out of the original three, what between the five final tedious dub tracks and the worthless "Mensforth Hill" (which happens to be "Something About England" played backward, obvious filler), and even that 2.5 is quite a bit to absorb. The process of recording the album led to something a lot less consistently great than London Calling. It's hard to justify calling it the better album, because that's just not true. But it's long been my favorite because, despite the occasional misses ("Crooked Beat" and "Equalizer" for example) and other songs where the musical concepts just don't quite cohere right, the times when it hits are simply astonishing. A song like "One More Time", which (probably intentionally) evokes Elvis's "In The Ghetto", could easily have suffered from the well-meaning, sincere condescension that has made Elvis's effort something of an embarrassment, but Strummer avoids the pitfalls and instead the song--a forthright wail over inner-city poverty--becomes a powerful anthem that has respect for its subjects. "The Call Up" is another example of pure Clash bliss, a vaguely funky number with very direct lyrics that someone with less formidable vocal skills than Joe Strummer would have botched badly (just imagine what Bono would do with a song about young boys going off to war!), but Strummer's lyrics key into the emotions of fathers and sons in a way that makes it resonant instead of preachy. There are plenty of other examples, but it's hard to see these songs as anything other than triumphs of the approach the Clash took to this album: the album thrives on spontaneous, found emotion, and packaging all that up in the London Calling fashion would have been counterproductive. Other highlights include: "Charlie Don't Surf", a surf-and-sitar tune that references Apocalypse Now and just proves how cool these guys were; "Police On My Back", which isn't an original Clash tune but it just rocks so hard; "Magnificent Seven", in which Strummer raps well before it's cool, and so many more. All in all, this is an album that even the most charitable assessment must admit has some flaws. But it has some moments that hit home harder than anything else The Clash ever did, and even with the filler it's never not a highly rewarding listen.
R**H
the clash sandinista
Ok then, i know its a bold statement to declare a record as being the greatest ever, but thats exactly what im going to do. First of all lets get one thing straight, just because im saying its the best album ever does not mean you will like it. The best album ever for you is the one that means the most. Personal preference is something that just cant be argued. However , i thought the best way to judge the best album ever is to put personal preference aside and simply examine the the entire albums contents as honestly as possible. I did this with a lot of records, im serious, it took me bloody ages. In the end the decision was easy, Sandinista by The Clash is the best album ever. I can hear you laughing at me now as you wonder how i came to this conclusion, well, here's how....First of all Sandinista breaks every rule there is to break when it comes to making an album. Its too long, the songs are in the wrong order, it remixes its own songs on the same album and The Clash liked one song so much they put it on there twice, only the second version is backwards. Its easy to see that the Clash were prepared to take risks and not bore us by repeating a musical formula that so many great bands seem to do a lot of. I can almost here Beatles fans now saying, what ? you think the beatles repeated themselves. Its ok Beatles fans, The White Album is second on my list of best albums ever. Well then , back to Sandinista. Its great to hear an album that hasn't spent to much time in the editing suite , producers tend to seek absolute perfection when it comes to mixdown and perhaps more often than not the magic was there right at the beginning. Sandinista was made in a very small space of time, just three weeks to record 36 songs and i can assure you when it comes to the way it sounds, it is magic. Ultimately its the songs that make a great album and whilst there is no big songs on this album ( what i mean by big is there are no songs that have become deeply entrenched into the human psych, like say All You Need Is Love is or Stand By Me, you get my jist) but the songs on Sandinista are delivered with such awe inspiring passion. The best way to describe Sandinista is that it is a record that starts out feeling like its to much, but after time, it seems like its never enough....... PS you should listen to this record on vinyl only as cd simply compresses out all of its richness.
J**T
Great
The Clash were the best band in the world for three or four years. This triple album’s 36 tracks show why. The songs don’t drive like on “London Calling” and there isn’t much punk rock. There’s a strong reggae vibe and, though the tone is softer, tunes are fast enough. They get slower with parts of “Should I Stay or Should I Go” on their next album, “Combat Rock.” So many memorable songs. “The Callup,” “One More Time,” “Charlie Don’t Surf,” “Police On My Back,” “The Magnificent Seven,” and “Somebody Got Murdered” come to mind right now. There’s more variety here than on “London Calling” and the genius is subtler. This is an incredibly important band whose influence will last for centuries. No great band since has had the courage and skill to put so many great, varied songs on the same record. Great bands that followed like Sonic Youth, REM, Nirvana, Pearl Jam, Smashing Pumpkins, Green Day, Weezer, and the White Stripes haven’t shown this breadth and willingness to take listeners to new places. This is a masterpiece and at around $16 on Amazon for the two discs set it’s a bargain. Buy it.
J**K
Very challenging as well as compelling
The Clash's fourth album, Sandinista!, may be the most eclectic rock album ever recorded. While their previous release, London Calling, was a diverse collection, Sandinista! found the band pulling out all the stops musically. Also worth noting is that while there was a joyous atmosphere around many of the songs on London Calling, the mood is very somber for most of Sandinista! And while not every track works (a nearly impossible feat in a 36 song collection), most of the tunes are very good with a few being among their best. Disc 1 shows the band trying a little of everything whether it's rap ("The Magnificent Seven"), rockabilly ("The Leader"), disco ("Ivan Meets G.I. Joe"), funk ("Lightning Strikes"), Motown soul ("Hitsville U.K."), jazz (their cover of "Look Here"), ska ("If Music Could Talk") or gospel ("The Sound of Sinners"). However, the genres that emerge the most are new wave with "Somebody Got Murdered" and "Up in Heaven (Not Only Here)" and reggae with "The Crooked Beat", "Junco Partner", and "One More Time", which is also joined by a dub version appropriately titled "One More Dub." Of the two discs, Disc 1 is the stronger of the two with "The Magnificent Seven", "The Crooked Beat", "Somebody Got Murdered", and "Up in Heaven" being the best songs and "Let's Go Crazy" being the only subpar tune. Disc 2 continues the eclecticism with a heavier emphasis on reggae and dub. This time, the band cover hard rock on the opening "Police on My Back" and attempt psychedelia on "Mensforth Hill", which is "Something About England" played backwards. The latter may have worked for the Beatles on The White Album but here it's one of a few failed experiments on the disc. We get more rockabilly on "Midnight Log" and more new wave on "Charlie Don't Surf", and three gems in the anti-war track "The Call Up", the dance tune "Version City", and the ballad "Broadway." The reggae tunes are very good with "The Equaliser" and "Washington Bullets" being the best on the album. There are a few clunkers here like "Silicone on Sapphire", "Shepherd's Delight", and an ill advised cover of their own "Career Opportunities" but fortunately they're near the end of the disc. In closing, Sandinista! is by far the most challenging release of the Clash's catalog. However, several listens and a bit of patience reveal this to be a compelling album.
A**R
You need this
While London Calling will be their 'masterpiece' to me, this was just a shade under it. A lot more dub, not a bad thing. 3 discs, 180 gm vinyl, for less that the new Sabrina Carpenter album. Outstanding. I needed to replace it as my original somehow developed legs and walked off.
S**P
A famous album by The Clash that showed their growing political awareness.
One of the best albums from this seminal British Rick band.
B**L
Power To The People
Sandinista! was The Clash's response to the two-album set - The River - released by Bruce Springsteen. In what was a growing row with the record company after the smashing success of London Calling, The Clash wanted the financial backing to issue three records for the cost of a single lp and to promote it in the U.S. with only a few gigs. Yes, The Clash wanted to outdo The Boss be being it's own boss. And was it meeting the new boss who was the same as the old boss? Forget it. In 36 tracks The Clash delivers music from the city streets. Through biting lyrics like those in Somebody Got Murdered & Police On My Back, repression and desolation is depicted in living color. There aren't too many releases that packed the power in four consecutive songs like Washington Bullets, Broadway, Lose This Skin and Charlie Don't Surf. Replace the arcade sounds with a soundtrack from a video game & toss in the "bad guy" of the moment and Ivan Meets G.I. Joe becomes a timely classic from the new resource wars. And my favorites remain The Magnificent Seven and Hitsville U.K. I am sure The Clash was under pressure to deliver London Calling II and it can be argued that pairing Sandinista! down to about 12 tracks would have made for an absolutely brilliant album. But by taking the record company for a ride, The Clash showed for a brief period of time how music can reach out to the fans and speak through them, not to them.
D**R
Incredible Album
This album by Clash contains all types of music except Classical, I guess 😝
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