Tracklist
A1 | Dictator | 2:59 | |
A2 | Dirty Punk | 3:07 | |
A3 | We Are The Clash | 2:58 | |
A4 | Are You Red...Y | 2:58 | |
A5 | Cool Under Heat | 3:19 | |
A6 | Movers And Shakers | 2:59 | |
B1 | This Is England | 3:47 | |
B2 | Three Card Trick | 3:06 | |
B3 | Play To Win | 3:06 | |
B4 | Fingerpoppin' | 3:22 | |
B5 | North And South | 3:28 | |
B6 | Life Is Wild | 2:38 |
Companies, etc.
- Distributed By – CBS Disques S.A.
- Phonographic Copyright ℗ – CBS Records
- Copyright © – CBS Records
- Published By – Riperole Ltd.
- Mixed At – Mayfair Studios
- Pressed By – CBS Pressing Plant, Aston Clinton
Credits
- Bass [Uncredited] – Norman Watt-Roy
- Drum Programming [Uncredited, Special Thanks To] – Michael Fayne
- Engineer [Assistant] [Mayfair-London] – Kevin Whyte
- Engineer [Mixed-Mayfair-London] – Simon Sullivan
- Engineer [Recorded-Munich] – Ulli Rudolf*
- Keyboards [Uncredited, Special Thanks To] – Herman (Young Wagner)*
- Lacquer Cut By [Side A] – Timtom*
- Lacquer Cut By [Side B] – TY*
- Mastered By [Cut-New York] – Howie Weinberg
- Mastered By [Cut-Soho London] – Tim Young
- Performer [The Clash] – Pete Howard
- Performer [The Clash], Guitar [uncredited] – Vince White
- Performer [The Clash], Lead Vocals [uncredited] – Joe Strummer
- Performer, Vocals [uncredited], Guitar [uncredited] – Nick Sheppard
- Photography By – Mike Laye
- Producer [Produced By] – Jose Unidos
- Sleeve – J.B.*
- Written-By – Strummer*
Notes
Issued with a printed inner sleeve..
The sleeve were printed in 2 variants. One with the sleeve title printed with an orange background, and one with a red background.
The runouts are hand-etched, except stamper letter, which is stamped.
RECORDED-MUNICH
MIXED-MAYFAIR-LONDON
CUT-NEW YORK
ORIGINAL SOUND RECORDING MADE BY CBS RECORDS
℗ 1985 CBS RECORDS
Made in England
The sleeve were printed in 2 variants. One with the sleeve title printed with an orange background, and one with a red background.
The runouts are hand-etched, except stamper letter, which is stamped.
RECORDED-MUNICH
MIXED-MAYFAIR-LONDON
CUT-NEW YORK
ORIGINAL SOUND RECORDING MADE BY CBS RECORDS
℗ 1985 CBS RECORDS
Made in England
Barcode and Other Identifiers
- Label Code: LC 0149
- Price Code: CB 291
- Price Code: 57
- Rights Society: MS/BIEM
- Matrix / Runout (Runout side A, variant 1): CBS-26601-A1 TimTom
- Matrix / Runout (Runout side B, variant 1): CBS-26601-B1 TY 0
- Matrix / Runout (Runout side A, variant 2): CBS-26601-A1 TimTom A
- Matrix / Runout (Runout side B, variant 2): CBS-26601-B1 TY F
Other Versions (5 of 75)
View AllTitle (Format) | Label | Cat# | Country | Year | |||
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Cut The Crap (LP, Album, Pitman Pressing) | Epic | FE 40017 | US | 1985 | |||
Recently Edited
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Cut The Crap (LP, Album) | CBS | CBS 26601 | Europe | 1985 | ||
Recently Edited
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Cut The Crap (Cassette, Album, Reissue, Chrome EQ 120µ Sec) | CBS | 465110 4, CBS 465110 4 | Europe | 1985 | ||
Cut The Crap (Cassette, Album) | CBS | 40-26601 | Europe | 1985 | |||
New Submission
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Cut The Crap (LP, Album) | CBS | CBS 26601 | Greece | 1985 |
Recommendations
Reviews
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Just given this a second try since most likely the year it came out. I'm sure I enjoyed it back then because it was still Joe Strummer and Paul Simonon and of course I went to see them on this tour once again. Let's just say it hasn't stood the test of time and will probably not be touched again for many more years. All previous albums will still be given a regular spin.
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Edited 5 years agoAh yes, the great songwriting duos of rock history... Leiber and Stoller, Lennon and McCartney, Jagger and Richards, Strummer and Rhodes...
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I can't who said it, but my favourite review of this album went something like this..."The Clash's new album is called Cut the Crap and guess what, it's crap!"
It's kinda sad that they had to include a song called We Are The Clash to remind us that the once mighty Clash produced this stain on their reputation. They really should have called themselves Joe Strummer and the New Clash, then it might have been excused. Paul Simonon, although credited and in the photo on the back cover, does not appear on the LP at all. That's how desperate they were to preserve the appearance that this was stll somehow The Clash or at least half of The Clash. A lot of the blame falls on Bernie Rhodes shoulders who virtually stripped all the guitars off the recordings replacing them with synthesised rubbish.
I love the first 2 LPs, but London Calling and Sandinista! are their two timeless masterpieces - 10 sides of Clash brilliance! -
Jon Savage wrote about this album: "Almost everybody says this record is crap: it isn't." The guy was right once more. Ok, the drum machine sounds terrible sometimes, and not just the drum machine... but the songs are great! The Clash sound different on every album, and this album is special, too. It kicks you out of your comfort zone, and isn't that what it's all about? Give it a second try.
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Edited 6 years agoSo I haven't really found any positive review on this album yet so let me be the first. This album is great, it sounds like nothing else. It has the punkish juvenile drive of early punk days, mixed with bizarre 80's production and avant garde-ish chaos. I think the problem most people run into is that they're too used to the accessibility of music. Nowadays, when artist's such as Merzbow are almost becoming popular, it brings up the question of whether people might be about to become ready for this out of style album. The first track is my favourite of the album, almost martial and at the time mixes strange synths and random radio samples into the background which makes it very chaotic and layered at the same time as a catchy chorus prevails. Now, I like formless music and celebrate such experimentalism but maybe this just isn't for everyone. The album is also quite raw at the same time as having this 80's production and programmed drums. An avant gard take on old Clash which sounds like suited up Patrick Bateman on a frenzy! Give it a try if you dare.
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When Mick Jones got hold of a copy of this album in 85, he must've laughed and laughed. Or else cried. In a situation like this with any band, it's so obvious how hugely important are...when they're not present and there's such a vast qualitative void left in their place. This album sucks.
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