The definitive playlist for The Clash

London Calling, The Clash's third studio release, is considered one of the great albums of all time across genres. These were not easy times for the band. Still, The Clash stepped up to the plate to deliver a classic. Reggae-fueled "The Guns of Brixton" concluded Side Two of the double album and showcased one of the band's many musical influences on the record. The track was written by bassist Paul Simonon, who sang lead on the piece.

Combat Rock (1982) remains the band's best-selling album in the United States, earning double-platinum status and reaching No. 7 on the Billboard 200. "Straight to Hell" is a rather dark, underrated cut from the group's most mainstream release. The song, known for its almost haunting drum beat, covers such topics as unemployment, poverty, and the Vietnam War. The cover of the song from Heather Nova and Moby is brilliant.

Perhaps the best way to describe The Clash's 36-song release Sandinista! (1980) is a smorgasbord of musical influences. On the heels of London Calling, The Clash seemed out to prove it was more than a straight-up punk band. The album had everything from funk to rockabilly, disco, and even rap. "The Magnificent Seven," the album's opener, was an example of the latter. Though not full-blown rap, that genre was growing on Mick Jones, and The Clash was ready to do its part.

From the band's second studio album Give 'Em Enough Rope (1978). To the casual punk fan, the album likely isn't on many radars. Still, "Stay Free" is a true gem from the record. A pop-punk tune that might not stand out amid the overall album but an above-average effort that can hold its own within the vast excellence of The Clash's catalog.

In 1977, The Clash released its acclaimed eponymous debut album in the United Kingdom. Two years later, the record's United States version was released. "London's Burning" was the closing number of Side One and ripe for fans to simply yell, "London's burning!!" The Clash — Joe Strummer, in particular — had a lot of issues with its beloved England. So, what better way to channel it than through some of the best music in the history of punk rock?

Even The Clash is worthy of dabbling in a cover tune. The band picked a good one, dropping a version of this Sonny Curtis classic made popular by the Bobby Fuller Four in 1965 for The Cost of Living EP from 1979. It was also on the U.S. release of the band's debut album. In the realm of The Clash universe, it's one of the band's most popular tracks.

How about another cover? Many artists have covered this 1970 gem from Jamaican ska outfit the Maytals, but only a few are truly memorable. It can be argued that the version recorded by the Specials tops the list, but The Clash did the song justice. Recorded during the Give 'Em Enough Rope sessions in the late 1970s, this take on "Pressure Drop" is one that seems like the band was made to perform. This version was initially released as the B-side to 1979's "English Civil War" 7-inch single.

The brilliance of Side Two of London Calling can't be understated. Among the highlights of the entire album, though, is "Lost in the Supermarket." Always delivering a message, Joe Strummer and Mick Jones take aim at consumerism. It's one of the group's more pop-tinged tunes.

Another gem from Side Two of London Calling. "Spanish Bombs" kicks off the side. Joe Strummer was reportedly inspired to write the song while listening to a radio news bulletin about a terrorist bombing in Spain. The Clash was never shy about infusing politics into its music.

With guitarist Mick Jones on lead vocals, "Should I Stay or Should I Go" has become perhaps the group's most recognizable mainstream hit. It's still popular within the realm of pop culture in the U.S. The track has been dismissed for years by hardcore punks, but "Should I Stay or Should I Go" helped introduce The Clash to the masses.

A true punk classic and the first single The Clash released from its debut album in 1977. There are two recorded versions of the song, including one with a British siren at the beginning. Both cover less than two minutes but pack the same powerful punk punch. The anybody of any generation looking for an education on the punk scene, "White Riot" would be part of Punk 101. Simple, dirty, and raw. 

One of the band's most unique and original creations. From Sandinista!, this upbeat pop number was essentially a duet between Mick Jones and then-girlfriend singer/actress Ellen Foley. It was a tribute of sorts to the Motown sound, just another musical movement that influenced The Clash. Jones's piano/keyboard work and Norman Watt-Roy's bassline provide some of the track's underrated moments. The song charted in both the United Kingdom and the United States.

"Clampdown" is pure punk rock. Straightforward, yet audible and lyrically impactful enough to make the band stand out. The Clash's knock on capitalism from London Calling, "Clampdown" has enjoyed quite the legacy within the group's expansive catalog. Rage Against the Machine, Metallica, and Bruce Springsteen are among the many notable artists to deliver strong covers of the track.

Remember, the general theme of rock and roll is that it's better to die than grow old. At least, that's what The Who thought, and The Clash echoed with this exceptional punk moment from London Calling. Listen to punks that followed, like Rancid and Dropkick Murphys, and this song can be found in the consistent sound of those types of bands. 

In addition to being a great soulful pop-punk song, "Train in Vain" has a great story. Originally a hidden track on the London Calling album, listeners had to do a little work to find it. Once they did, it became one of The Clash's signature tunes. One of the most recognizable punk songs of all time, "Train in Vain" reached No. 23 on Billboard's Hot 100. And thanks to that catchy funk rhythm, the song was also popular in the early '80s dance club scene.

If we're talking Clash deep cuts, "Career Opportunities" should be at the top of the list. The song was part of the band's debut album, then re-recorded in a completely different form (with vocals by the sons of keyboardist Mickey Gallagher) to be included on Sandinista! From the beginning, The Clash was wearing its collective heart on its sleeve and, in this case, shaming England for its lack of available jobs during the 1970s. 

The first notes of The Clash's existence came from "Janie Jones." The opener to the group's debut, complete with Terry Chimes' memorable thumping on the drums, is a musical ode to an obscure English pop singer who earned infamy after being arrested for her work as a madam. Such fans of the song include legendary film director Martin Scorsese and fictional record-shop owner Rob Gordon (High Fidelity).

An early 1980s mainstream favorite, especially on MTV, which helped introduce suburban kids to The Clash. From Combat Rock," "Rock the Casbah" is The Clash's most successful single in America, peaking at No. 8 on Billboard's Hot 100. The tune gained more attention during the 1990s with Operation Desert Storm and was later deemed somewhat controversial following the terrorist attacks of September 11, 2001.

Initially released in the U.K. as a 7-inch single in 1978, "(White Man) In Hammersmith Palais" eventually found its way onto the U.S. release of The Clash's debut album. Roughly four minutes in duration, it's not only one of the band's longest tunes recorded at the time but also one that was lauded as an example of its collective musical maturity. It offered a solid balance of punk and reggae. The latter style had a serious impact on the band. The song was reportedly inspired by the members checking out a reggae showcase at London's Hammersmith Palais music hall.

The title cut to The Clash's most celebrated album is iconic in the overall history of the punk movement and true rock-and-roll greatness. "London Calling" is an example of the band's dismay with the Western world — politics, social issues, and its fate — during the late 1970s. Sure, all of that might have been a little overdramatic, but the message, the beat, and Joe Strummer's controlled vocal angst helped this tune open the door for the post-punk movement to gain prominence.