Blondie - Greatest Hits (02)

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01 - Dreaming
02 - Call Me
03 - One Way Or Another
04 - Heart Of Glass
05 - The Tide Is High
06 - X Offender
07 - Hanging On The Telephone
08 - Rip Her To Shreds
09 - Rapture
10 - Atomic
11 - Picture This
12 - In The Flesh
13 - Denis
14 - (I'm Always Touched By You)
15 - Union City Blue
16 - The Hardest Part
17 - Island Of Lost Souls
18 - Sunday Girl
19 - Maria

Elvis Costello - When I Was Cruel (02)

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01 45
02 Spooky Girlfriend
03 Tear off Your Own Head (It's a Doll Revolution)
04 When I Was Cruel No. 2
05 Soul for Hire
06 15 Petals
07 Tart
08 Dust 2...
09 Dissolve
10 Alibi
11 ...Dust
12 Daddy Can I Turn This
13 My Little Blue Window
14 Episode of Blonde
15 Radio Silence

Clash - London Calling (79)

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1 London Calling
2 Brand New Cadillac
3 Jimmy Jazz
4 Hateful
5 Rudie Can't Fail
6 Spanish Bombs
7 The Right Profile
8 Lost in the Supermarket
9 Clampdown
10 The Guns of Brixton
11 Wrong 'Em Boyo
12 Death or Glory
13 Koka Kola
14 The Card Cheat
15 Lover's Rock
16 Four Horsemen
17 I'm Not Down
18 Revolution Rock
19 Train in Vain

Give 'Em Enough Rope, for all of its many attributes, was essentially a holding pattern for the Clash, but the double-album London Calling is a remarkable leap forward, incorporating the punk aesthetic into rock & roll mythology and roots music.

Before, the Clash had experimented with reggae, but that was no preparation for the dizzying array of styles on London Calling.

There's punk and reggae, but there's also rockabilly, ska, New Orleans R&B, pop, lounge jazz, and hard rock; and while the record isn't tied together by a specific theme, its eclecticism and anthemic punk function as a rallying call.

While many of the songs — particularly "London Calling," "Spanish Bombs," and "The Guns of Brixton" — are explicitly political, by acknowledging no boundaries the music itself is political and revolutionary.

But it is also invigorating, rocking harder and with more purpose than most albums, let alone double albums.

Over the course of the record, Joe Strummer and Mick Jones (and Paul Simonon, who wrote "The Guns of Brixton") explore their familiar themes of working-class rebellion and antiestablishment rants, but they also tie them in to old rock & roll traditions and myths, whether it's rockabilly greasers or "Stagger Lee," as well as mavericks like doomed actor Montgomery Clift.

The result is a stunning statement of purpose and one of the greatest rock & roll albums ever recorded.

In 2000 Columbia/Legacy reissued and remastered London Calling.

Clash - Clash (77)

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1 Janie Jones
2 Remote Control
3 I'm So Bored With the U.S.A.
4 White Riot
5 Hate & War
6 What's My Name
7 Deny
8 London's Burning
9 Career Opportunities
10 Cheat
11 Protex Blue
12 Police & Thieves
13 48 Hours
14 Garageland

The Clash's self-titled U.K. debut sees the band in its most primal, punk form. Despite Mickey Foote's low-key, lo-fi production, Strummer, Jones, Simonon, and Chimes mesh and unite with a snarling ferocity and energy.

Raw, bouncy edginess pours out of each song, with new hooks popping out at odd angles by the second.

The band isn't satisfied lingering in any one genre. "Remote Control" mixes Kinks-style fractured pop with pace changes lifted straight from Chuck Berry. "Cheat" sounds like the Ramones' "Gimme Gimme Shock Treatment" given a rockabilly makeover.

"Police & Thieves" is a massively catchy take on the Junior Murvin/Lee "Scratch" Perry song and an early signpost for the future dub/rock fusions to come on Sandinista! "White Riot" and "I'm So Bored With the U.S.A." reflect the somewhat youthful, early quasi-political leanings of the band.

Though they would come across as slightly amateurish years later, it's hard to deny their punchy charm.

The U.S. edition of The Clash, released in 1979, removed "Cheat," the funky singalong "Protex Blue," the dark and revealing paranoia of "Deny," and the short but utterly delightful "48 Hours."

In their place were the more polished and thus somewhat jarring U.K. singles/B-sides "Complete Control," "(White Man) In Hammersmith Palais," "Clash City Rockers," "I Fought the Law," and "Jail-Guitar Doors."

The U.S. edition might have the original beat in shine and catchiness, but it's a distillation of the band's original ferocity, and some might say an unwelcome tinkering with history. In a way, the U.S. edition served as an extremely early best-of.

Purists will most likely swear on the sonic cohesion of this U.K. edition. Columbia remastered the album and restored its original artwork in 1999, making it a bare-bones but perfect throwback and the easiest way to turn back the clock and discover the Clash at their origins.