2020. 2. 18. 07:38ㆍ카테고리 없음
I noticed this finally showed up here on Discogs. Does anyone who owns this have any idea how many of this version are in existence? Bought from a popular auction site. Thought something was up with the cover as what should be a sticker is printed into the photo. Sealed when purchased, but came with generic inners. Also I have listened to this and it sounds fine to me and I am pretty picky about sound.
Are any of the other owners having sound quality issues? I plan to get the authentic version anyway. Just bought this due to its uniqueness. The red vinyl.Just curious, how do you counterfeit a vinyl pressing? Did someone do this at a recording company on spare time, or are there pressing companies that deliberately make these?
I would think that a lot of time would go into making several counterfeit copies of a vinyl pressing. CDs and Movies are quite easy to counterfeit, but it would take a lot of equipment and money to print these I would assume.
A blog-follower request, this isa reconstruction of the unreleased Clash album Rat Patrol From Fort Bragg. Originally conceived as a double-album byguitarist Mick Jones who had tried to harness more creative control of the band,Rat Patrol was eventually skimmed down and remixed into a more commercialsingle-disc, their seminal 1982 album Combat Rock. Unlike other Rat Patrol bootlegs, thisreconstruction follows Mick Jones’ actual track order found on his rough cut ofthe double-album. Also my reconstructionuses a number of sources to provide the most complete, pristine and dynamicalbum possible, including remastered bootleg tracks and a needledrop vinyl ripof an original pressing of Combat Rock.
As always, all tracks are volume adjusted for a cohesive listeningexperience. By the early 1980s, the cracks inThe Clash had begun to form.
Comingoff their daring 1980 triple-album Sandinista!, work began on their fifthalbum in late 1981 at a London rehearsal space, demoing new material with a mobilemultitrack set-up. While Clashfrontman Joe Strummer hoped for a morecommercial and concise single album of roots-rock, guitarist Mick Jones wishedto continue the world beat influence of their previous album, pushing theenvelope to his current tastes in dub, reggae and American hip-hop. Temporarily shelving their differences, TheClash embarked on a tour and residency to road-test the new material. During this period, the band embraced imagesand concepts associated with the Vietnam War—or at least the Vietnam War asseen through the Hollywood lens. Theyalso embraced elements of urban American culture, even as much as havinggraffiti artist Futura 2000 paint the backdrop of their tour. Blending this ‘ghetto’ and Vietnam Warimagery together, they created an aesthetic of “urban warfare” which was perpetuatedin Joe Strummers lyrics for the new material.
Was this perhaps a metaphor for the band’s own internal warfare? Reconvening in New York’sElectric Ladyland Studios in late 1981—Mick’s choice as he felt that was thecenter of modern musical activity—The Clash got to work recording the albumproper, led by Jones’ vision of a more funk/reggae/dub-inspired sound andfueled by Topper Headon’s appropriately globalized drumming. Sides were drawn as Headon’s heroin addictionled to his own perception as being an outcast in the group and sided withJones, leaving Joe Strummer and bassist Paul Simonon (who felt he had beenforced to take a creative backseat) to unite on the other side of the battlefield and vie for a single disc punk record. As sessions progressed, the songs became longer—an obvious dubinfluence—and despite Strummer’s worries that theyneeded a single-LP for CBS Records to properly promote the album, the projectwas steadily becoming yet another double album, possibly doomed to distributionlimbo. The situation amounted to runningtwo studio rooms simultaneously so both Strummer and Jones could workindependently on their vocals and guitar overdubs respectively, without havingto actually interact with each other. Just before leaving to tour Asiain early 1982, Mick Jones prepared his vision of the double album,provisionally titled Rat Patrol From Fort Bragg.
Long-winded, indulgent and sometimes evensuperfluous, the album contained 15 songs and ran over 65 minutes—and that wasexcluding at least four outtakes (“Overpowered By Funk”, “Walk Evil Walk”,“Midnight To Stevens” and “Long Time Jerk” did not make the cut on Jones’sequence). The rest of the band hated itand Joe Strummer championed to have the album remixed and edited into a morecommercial product. Strummer’s wisheseventually won and producer Glynn Johns was brought in to fix the album (notethis is the third time this blog has covered an Album That Never Was that GlynJohns was supposed to produce and/or clean-up, including The Beatles Get Back and The Who’sLifehouse!!). That April, Strummer and Johnsreviewed the material at Wessex Studios in London and remixed the songs toemphasize its guitar elements and begin whittling the songs down to their basicnecessity, eliminating their unneeded near raga-lengths. “Know Your Rights”, “Red Angel Dragnet”,“Ghetto Defendant”, “Sean Flynn” and “Inoculated City” all lost approximately twominutes each. The songs earmarked assingles, “Should I Stay Or Should I Go” and “Rock The Casbah” (the lateractually referencing the raga-lengths of the Rat Patrol songs), were treated tonew vocal tracks.
Four songs, “TheFulham Connection”, “First Night Back In London”, “Cool Confusion” and “Idle InKangaroo Court W1”, were dropped entirely, while “Overpowered By Funk” wascuriously added back into the running order. Despite Mick Jones and allegations that his art had been tampered with,the album was appropriately retitled to Combat Rock and CBS Records had theirmore commercial, single-disc album, rush-released that May. Even though the more concisealbum was commercially successful—both “Should I Stay or Should I Go” and “RockThe Casbah” became hits—the cracks in The Clash were too deep to be fixed. Topper was removed from the band due to hisexcessive heroin addiction in May, the month Combat Rock was released; Mick wasfired from the band the following year. Both Jones and Headon went on to form Big Audio Dynamite, who was morereminiscent of the world-beat hybrid found on Rat Patrol, while Strummer andSimonon continued the Clash and recorded their final album ironically titledCut The Crap (which was later disavowed by all band members). But luckily through bootlegs and anassortment of bonus tracks and compilations, we are able to reconstruct whatthis less-commercial and raga-like Combat Rock would have been—what turned outto be The Clash’s unreleased swansong.
The overall primary concern for thisRat Patrol is sound quality. While MickJones’ original mix of the album is available on bootlegs, they are usually sourcedfrom a highly generated cassette; because of this, I occasionally chose to usethe Combat Rock versions of some tracks rather than the bootlegged Mick Jonesmixes for the sake of a pleasurable listening experience. Luckily, fairly pristine versions of Jones’mixes of “Rock The Casbah”, “Straight To Hell” and “Should I Stay or Should IGo” can be found on bootlegs, an alternate source than the muffledcassettes. Likewise, the long Mick Jonesmixes of “Ghetto Defendant” and “Sean Flynn” are found on the Sound System boxset. The remaining tracks are sourced from a needledropvinyl rip of Combat Rock by kel bazaar, which is the most pristine and dynamicversion of the album I’ve heard. We willalso use the actual tracklist from Mick Jones’s master, which omits“Overpowered by Funk” and “Walk Evil Walk”. Side A begins with Mick Jones’original mix of “Straight To Hell” taken from the bootleg Rat Patrol from FortBragg on Redline Records.
It sounded abit crusty so I personally re-EQd it to match the EQ parameters found on thevinyl rip of Combat Rock used elsewhere on this reconstruction. Following is the shorter Glyn Johns mix of“Know Your Rights” from the vinyl rip of Combat Rock. Mick’s very different original mix of “Rock TheCasbah” is next, taken from the bootleg Another Combat Rock, again re-EQed tomatch the parameters of the album version. The side concludes with “Red Angel Dragnet” from the vinyl rip of CombatRock, again choosing the shorter album version; note if we had used the longermixes, side A would have been ridiculously longer than the other sides anyways!
The Clash Live Album
Side B opens with Mick’s mix of “Should IStay or Should I Go” taken from Another Combat Rock, again reEQd to match thealbum version. Closing disc one isMick’s long mixes of “Ghetto Defendant” and “Sean Flynn”, taken from the SoundSystem box set. Side C begins with “Car Jamming”from Combat Rock, being that the Johns and Jones mixes were fairlysimilar. “The Fulham Connection”, alsoknown and released as “The Beautiful People Are Ugly Too”, is taken from theSound System box set. Next is “Atom Tan”from Combat Rock (again not too different from its original mix) followed by“First Night Back in London” from the Sound System box set. Side C starts with the unedited Combat Rockversion of “Inoculated City” which features the original ’2000 Flushes’ sample,albeit not the long Mick’s version.
Nextis “Death is a Star”, again from Combat Rock. “Cool Confusion” from the box set follows, with the album finishing onthe goony “Idle in Kangaroo Court W1” also known and bootlegged as “KillTime”.
I believe that the bootleg that I took Straight To Hell from actually took theirs from The Clash On Broadway, so it's the same!Also, I stand by my choice for the cover, I really felt it set the tone for this album. But because I am a people-pleaser, here is a quick alternate cover art I made that one could use instead:it is of interest that my research has led me to believe the actual original cover art of Rat Patrol was designed by Futura 2000, and an extreme close-up of it's detail is featured as the back cover of Combat Rock. The orignal full-sized painting can be found in a book of his art titled 'Futura'. Unfortunately, I was not able to locate a copy of the book so if anyone has access to that orignal artwork-or can confirm this in general-then feel free to post it! Hey soniclovenoize!Really cool pick on that one!I made my own mix keeping the 'comerciality' of Combat Rock and using it's mixes,it goes like this:Side A1.The Fullham Connection2.Kill Time3.Should I Stay Or Should I Go?4.Rock The Casbah5.Know Your RightsSide B1.Red Angel Dragnet2.Ghetto Defendant3.Midnight To Stevens4.Hell W105.Car JammingSide C1.Innoculated City2.Death Is A Star3.Sean Flynn4.Atom Tan5.Overpowered By FunkSide D1.Long Time Jerk2.First Night Back In London3.Radio Clash4.Cool Confusion5.Straight To Hell. Hey, soniclovenoize, what about the real Cream 'Goodbye' album, with the same format as Wheels Of Fire. Those are the tracks I chose for the studio disc:Side A1.Never Tell Your Mother She's Out of Tune2.Theme for an Imaginary Western3.What a Bringdown4.Presence Of The Lord5.Doing That Scrapyard ThingSide B1.Badge2.Rope Ladder to the Moon3.Tickets to Water Falls4.The Ministry Of RagAnd for the live one:Side C1.Deserted Cities of the Heart2.White Room3.N.S.U.4.Tales of Brave UlyssesSide D1.I’m So Glad2.Sleepy Time Time3.Politician.
I just discovered your site. You do outstanding work, Mr.
Soniclovenoize!I rejigged Combat Rock on cassette back in the day, then Minidisk and eventually on CDR. I never felt that the album-plus-singles-and-b-sides hung together until I got The Beautiful People and Kill Time; those two put things right. I think the album could have worked as a four-sided beast, but I understand the band’s lack of support for Mick’s work-in-progress Rat Patrol. It needed one more killer track; an extended mix of Radio Clash. I finally admitted that Long Time Jerk wasn’t much fun and my current double-LP version goes like this:RADIO CLASH OUTSIDE BROADCAST 13:05FIRST NIGHT BACK IN LONDON 2:58KNOW YOUR RIGHTS 3:37CAR JAMMING 3:55ATOM TAN 2:23INOCULATED CITY 2:40COOL CONFUSION 3:14STRAIGHT TO HELL 6:56THE BEAUTIFUL PEOPLE ARE UGLY 3:43KILL TIME 4:56SHOULD I STAY OR SHOULD I GO? 3:09ROCK THE CASBAH MUSTAFA DANCE 8:10RED ANGEL DRAGNET 3:44GHETTO DEFENDANT 6:13SEAN FLYNN 7:21DEATH IS A STAR 3:07.