Editing The Clash (section)

==History==

===Origins: 1974–1976===
Before the Clash's founding, the band's future members were active in different parts of the London music scene. [[Joe Strummer]], whose real name was John Graham Mellor, sang and played rhythm guitar in the [[Pub rock (United Kingdom)|pub rock]] band [[The 101ers]], which he had formed in 1974 with Alvaro Pena-Rojas.<ref name=":13">{{cite book  |last1=Crampton  |first1=Luke  |title=The Q Book of Punk Legends  |last2=Rees  |first2=Dafydd  |publisher=Guinness Publishing Ltd  |year=1996  |location=Enfield, UK  |pages=38–47}}</ref> Mellor later abandoned his original stage name "Woody" Mellor in favour of "Joe Strummer", a reference to his rudimentary strumming skills on the ukulele while he was a [[busker]] in the [[London Underground]].

[[Mick Jones (The Clash)|Mick Jones]] played guitar in [[protopunk]] band [[London SS]]<ref name=":13" /> and rehearsed for much of 1975, but never played a live show and recorded only one demo. London SS were managed by [[Bernard Rhodes]], an associate of impresario [[Malcolm McLaren]] and a friend of the members of the [[Sex Pistols]], whom McLaren managed. Jones and his bandmates became friendly with Sex Pistols members [[Glen Matlock]] and [[Steve Jones (musician)|Steve Jones]], who helped them as they auditioned potential new members.{{sfn |Robb |2006 |pp=130–132}} Bassist [[Paul Simonon]] and drummer [[Terry Chimes]] auditioned for London SS but were rejected,{{sfn |Gray |2005 |p=72}} and [[Topper Headon|Nicky Headon]] drummed with the band for a week then quit.{{sfn |Gray |2005 |p=56}}<ref name=Gilmore>{{cite magazine |last=Gilmore |first=Mikal |title=The Fury and the Power of the Clash |magazine=Rolling Stone |date=3 March 2011 |issue=1125 |pages=60–79}}</ref>

After London SS broke up in early 1976, Rhodes continued as Jones' manager.<ref name=":13" /> In February, Jones saw the Sex Pistols perform for the first time and commented: "You knew straight away that was it, and this was what it was going to be like from now on. It was a new scene, new values—so different from what had happened before. A bit dangerous."{{sfn |Robb |2006 |p=151}} In March of that year, at the instigation of Rhodes, Jones contacted Simonon and suggested he learn an instrument so he could join the new band Jones was organising.{{sfn |Gray |2005 |p=72}} Soon Jones, Simonon on bass, [[Keith Levene]] on guitar and "whoever we could find really to play the drums" were rehearsing.<ref name="bass player">{{cite journal |last=Rowley |first=Scott |date=October 1999 |title=Paul Simonon's first ever bass interview |journal=Bassist Magazine |issue=10 |location=London}}</ref> Chimes was asked to audition for the new band and was accepted but quit soon after.{{sfn |Gray|2005 |p=79}}

The band were still searching for a lead singer. According to Chimes, Billy Watts, who "seemed to be, like, nineteen or eighteen then, as we all were", handled the duties for a time.{{sfn |Strongman |2008 |p=103}} Rhodes was watching Strummer, with whom he made exploratory contact; both Jones and Levene had seen Strummer perform and were impressed.{{sfn |Robb |2006 |pp=192, 193}} In April, Strummer saw the Sex Pistols [[opening act|open]] for one of his band's gigs. Strummer later said:
<blockquote>I knew something was up, so I went out in the crowd which was fairly sparse. And I saw the future—with a snotty handkerchief—right in front of me. It was immediately clear. Pub rock was, "Hello, you bunch of drunks, I'm gonna play these boogies and I hope you like them." The Pistols came out that Tuesday evening and their attitude was, "Here's our tunes, and we couldn't give a flying fuck whether you like them or not. In fact, we're gonna play them even if you fucking hate them."<ref name="joestrummer.us2">{{cite web |url=http://www.joestrummer.us/?n9P81fmSnwwFUbhFAMuAAxe6bb31IUP&p=2&aOHDhtT57WPxn9Z7bWGQa3BBQbFVu17LfZSa&c=1&CxeQAdg5hVrrDtzOUCasLrnVGV7&XUZHs |title=Interview |year=2000 |publisher=Joe Strummer Resource |work=Record Collector |access-date=5 December 2008 |url-status=dead |archive-url=https://web.archive.org/web/20111005220200/http://www.joestrummer.us/?n9P81fmSnwwFUbhFAMuAAxe6bb31IUP&p=2&aOHDhtT57WPxn9Z7bWGQa3BBQbFVu17LfZSa&c=1&CxeQAdg5hVrrDtzOUCasLrnVGV7&XUZHs |archive-date=5 October 2011}}</ref></blockquote>

On 30 May, Rhodes and Levene approached Strummer after a 101ers gig and invited him to meet up at the band's rehearsal location on Davis Road. After Strummer turned up, Levene played "Keys to Your Heart", one of Strummer's own tunes.<ref>{{cite web |url=http://www.mudkiss.com/keithleveneinterview.htm |title=keithleveneinterview – MUDKISS FANZINE |publisher=Mudkiss  |access-date=17 April 2014  |archive-date=23 January 2015 |archive-url=https://web.archive.org/web/20150123144317/http://www.mudkiss.com/keithleveneinterview.htm |url-status=dead}}</ref> Rhodes gave Strummer 48 hours to decide whether to join the new band that would "rival the Pistols".<ref>{{Cite web |last=Jones |first=Allan |date=2015-08-21 |title=Joe Strummer and the 101ers remembered: "Even then, he had this charisma..." |url=https://www.uncut.co.uk/features/joe-strummer-the-early-years-even-then-he-has-this-charisma-70350/5/ |access-date=2025-01-03 |website=UNCUT |language=en-GB}}</ref> Within 24 hours, he agreed.{{efn|According to the band (2005), "Bernie phoned him a day ahead of schedule, and demanded an answer there and then" (p. 127). In ''Westway to the World'', Jones confirms the 48-hour deadline, while Strummer says it was he who made the call after just 24 (11:34–11:40). Jones elsewhere gave a different account, according to which Strummer was originally given 24 hours to decide, and Rhodes called after just eight ([[#CITEREFRobb2006|Robb 2006]], p. 194).}} Simonon later said: "Once we had Joe on board it all started to come together".<ref name="bass player" /> Strummer introduced the band to his school friend Pablo LaBritain, who sat in on drums during Strummer's first few rehearsals with the band. LaBritain left the band shortly after and joined [[999 (band)|999]]. Terry Chimes, whom Jones later referred to as "one of the best drummers" in their circle, became the band's regular drummer.{{sfn |Letts |2001 |loc=17:16–17:22}}

In ''[[Westway to the World]]'', Jones said: "I don't think Terry was officially hired or anything. He had just been playing with us."{{efn|According to Gray (2005), Rhodes asked Chimes to rejoin (pp.&nbsp;133–34)}} Chimes did not like Strummer at first, saying: "He was like twenty-two or twenty-three or something that seemed 'old' to me then. And he had these retro clothes and this croaky voice."{{sfn |Strongman |2008 |p=103}} Simonon thought of the band's name; they had briefly named themselves the Weak Heartdrops and the Psychotic Negatives.<ref name="MTV-Rockumentary">{{cite web  |title=MTV Rockumentary  |author= Presenter: Kurt Loder  |publisher=MTV  |location=London, England  |url=http://www.londonsburning.org/art_mtv_rockumentary_1.html  |website=Londonsburning.org  |access-date=6 December 2007  |archive-url=https://web.archive.org/web/20010303040150/http://londonsburning.org/art_mtv_rockumentary_1.html  |archive-date=3 March 2001  |url-status=usurped }}</ref>{{sfn |Topping |2004 |p=12}} According to Simonon: "It really came to my head when I started reading the newspapers and a word that kept recurring was the word 'clash', so I thought 'the Clash, what about that' to the others. And they and Bernard, they went for it."<ref name="MTV-Rockumentary" />

===Early gigs and the growing scene: 1976===
After rehearsing with Strummer for less than a month, the Clash made their debut performance on 4 July 1976, supporting the Sex Pistols at the [[Boardwalk (nightclub)|Black Swan]] nightclub in [[Sheffield]].<ref name=":13" /> The Clash wanted to appear on stage before their rivals [[The Damned (band)|The Damned]], another London SS spinoff, made their own scheduled debut two days later. The Clash did not play in front of another audience for five weeks.{{sfn|Gray|2005|p=143}}<ref>{{cite web |url=http://www.mtv.com/news/articles/1470448/20030310/clash.jhtml |archive-url=https://web.archive.org/web/20030315000245/http://www.mtv.com/news/articles/1470448/20030310/clash.jhtml |url-status=dead |archive-date=15 March 2003 |title=The Clash: Ducking Bottles, Asking Questions |access-date =17 November 2007 |last=Loder |first=Kurt |date=13 March 2003 |publisher=MTV News}}</ref> Levene was becoming disaffected with his position in the group. At the Black Swan, he approached the Sex Pistols' lead singer [[John Lydon]], whose stage name was Johnny Rotten, and suggested they form a band together if the Pistols broke up.{{sfn|Robb|2006|p=196}}

Hours after their debut, the Clash, most of the Sex Pistols and much of London's "inner circle" of punks attended a performance by New York City's leading punk rock band the [[Ramones]] at [[Dingwalls]]; according to Strummer: "It can't be stressed how great the first Ramones album was to the scene&nbsp;... It was the first word of Punk, a fantastic record".{{Sfn|Clash|2008|p=61}} Afterwards "came the first example of the rivalry-induced squabbling that was to dog the punk scene and undermine any attempts to promote a spirit of unity among the bands involved".{{sfn|Gray|2005|p=144}} Simonon fought with [[J.J. Burnel]], the bass player of [[The Stranglers]], a slightly older band who were publicly identified with the punk scene but were not part of the "inner circle", which centered on the Sex Pistols.{{sfn|Gray|2005|p=144}}

Rhodes insisted the Clash should not perform live again until they were much tighter so they intensely rehearsed the following month. According to Strummer, the band devoted themselves to creating a distinct identity, saying:<blockquote>The day I joined The Clash was very much back to square one, year zero. Part of Punk was that you had to shed all of what you knew before. We were almost Stalinist in the way that you had to shed all your friends, or everything that you'd known, or every way that you'd played before.{{Sfn|Clash|2008|p=61}}{{sfn|Letts|2001|loc=14:57–15:08}}</blockquote>

Strummer and Jones shared most of the writing duties; according to Jones: "Joe would give me the words and I would make a song out of them".{{sfn|Robb|2006|p=326}} The band sometimes met in the office over their [[Camden Town]] rehearsal studio.{{sfn|Gray|2005|p=144}} According to Strummer: "Bernie [Rhodes] would say, 'An issue, an issue. Don't write about love, write about what's affecting you, what's important."<ref>[[#CITEREFSavage1992|Savage 1992]], p. 232.</ref> Jones later said: "Bernie had a hand in everything. Not the lyrics—he didn't help with the lyrics. He didn't tell us not to write love songs, as the myth goes—that's kind of simplified version of it. He told us to write what we knew about".<ref>[[#CITEREFRobb2006|Robb 2006]], p. 197).</ref>

Strummer performed lead vocals on the majority of songs but he and Jones sometimes shared the lead. Once the band began recording, Jones rarely had a solo lead on more than one song per album, though he was responsible for two of the group's biggest hits. On 13 August 1976, the Clash, wearing paint-spattered "[[Jackson Pollock]]" outfits, played in their Camden studio before a small, invitation-only audience,{{sfn|Robb|2006|pp=195–197}} which included [[Sounds (magazine)|''Sounds'']] magazine critic [[Giovanni Dadamo]], whose review described the band as a "runaway train&nbsp;... so powerful, they're the first new group to come along who can really scare the Sex Pistols shitless".{{sfn|Strongman|2008|p=133}}

On 29 August, the Clash and Manchester's [[Buzzcocks]] opened for the Sex Pistols at [[The Screen on the Green]]; it was the Clash's first public performance since 4 July.<ref name=":13" /> The triple-bill show is seen as pivotal to the consolidation of the British punk scene into a movement;{{sfn|Robb|2006|pp=212–215}} ''[[New Musical Express]]'' reviewer [[Charles Shaar Murray]] wrote: "The Clash are the sort of garage band that should be speedily returned to the garage, preferably with the motor still running".{{sfn|Salewicz|2006|p=162}} Strummer later credited Murray's comments with inspiring the Clash's song [[Garageland (song)|"Garageland"]].{{sfn|Letts|2001|loc=24:23–24:43}}

In early September, Levene was fired from the Clash. According to Strummer, Levene's dwindling interest in the band was due to his use of [[amphetamine|speed]], a point Levene denied.{{sfn|Robb|2006|pp=215–216}}{{sfn|Savage|1992|p=220}} On 21 September 1976, the Clash performed publicly for the first time without Levene at the [[100 Club Punk Special]], sharing the bill with the Sex Pistols, [[Siouxsie and the Banshees]] and [[Subway Sect]].{{sfn|Gray|2005|pp=164–166}}{{sfn|Robb|2006|pp=216–223}}<ref>{{cite web |url=http://homepage.mac.com/blackmarketclash/Bands/Clash/recordings/1976_77/76-09-20_100%20Club/76-09-20_100%20Club.html |title=The Clash Sex Pistols 100 Club Festival |access-date=27 November 2007 |publisher=blackmarketclash.com |archive-url =https://web.archive.org/web/20071104050039/http://homepage.mac.com/blackmarketclash/Bands/Clash/recordings/1976_77/76-09-20_100%20Club/76-09-20_100%20Club.html |archive-date =4 November 2007}}</ref> Chimes left in late November; he was briefly replaced by [[Rob Harper]] as the Clash toured in support of the Sex Pistols during December's Anarchy Tour.<ref>{{cite web
|url=http://homepage.mac.com/blackmarketclash/Bands/Clash/Clash%20gigography/1976%20DATES.html |title=1976 – The Clash Live |access-date=31 December 2007 |publisher=blackmarketclash.com |archive-date=26 October 2007
|archive-url=https://web.archive.org/web/20071026052834/http://homepage.mac.com/blackmarketclash/Bands/Clash/Clash%20gigography/1976%20DATES.html |url-status=dead}}</ref>

The Clash promoted a left-wing message in their songs and interviews, and sang about social problems, such as career opportunities, unemployment, and the need for a backlash against racism and oppression. Joe Strummer said in 1976: "We're anti-fascist, we're anti-violence, we're anti-racist and we're pro-creative".<ref>{{Cite journal|last=Miles|date=11 December 1976|title=Eighteen Flight Rock And The Sound Of The Westway |journal=New Musical Express}}</ref> Strummer also said: "I don't believe in all that anarchy bollocks!"<ref name=":0">{{Cite journal |last=Steve Walsh & Mark Perry |date=October 1976 |title=The Very Angry Clash |journal=Sniffin' Glue}}</ref>{{sfn|Salewicz|2006|p=176}} According to the Clash guitarist [[Mick Jones (The Clash guitarist)|Mick Jones]]: "The important thing is to encourage people to do things for themselves, think for themselves and stand up for what their rights are".<ref name=":0"/>{{sfn|Salewicz|2006|p=176}}

A confrontation between Black youth and police at the 1976 [[Notting Hill Carnival]] was important in the development of the Clash's political stance and inspired Joe Strummer to write "[[White Riot]]". Images of the riots were used as The Clash's stage backdrop and as the back cover of their first album, and was reprinted on badges and Clash t-shirts.{{Sfn|Needs|2005|p=45}}

===Punk breakthrough and UK fame: 1977–1979===

By January 1977, punk had become a major media phenomenon in the UK; according to ''[[New Musical Express]]'' (NME): "1977 is the year of The Clash".<ref>{{Cite journal|last=Parsons|first=Tony|date=2 April 1977|title=Sten Guns In Knightsbridge?|journal=New Musical Express}}</ref> On 25 January, the band signed to [[CBS Records International|CBS Records]] for £100,000, a remarkable amount for a band who had played about thirty gigs and very few headlining shows.{{sfn|Gray|2005|p=216}} Clash historian [[Marcus Gray]] said: "the band members found themselves having to justify [the deal] to both the music press and to fans who picked up on the critics' muttered asides about the Clash having 'sold out' to the establishment".{{sfn|Gray|2005|p=217}} [[Mark Perry (musician)|Mark Perry]], founder of the leading London punk periodical ''[[Sniffin' Glue]]'' wrote: "Punk died the day the Clash signed to CBS",{{sfn|Gray|2005|p=218}} but recanted when he first heard the single "[[White Riot]]", saying: "They're the most important group in the world at the moment. I believe in them completely. All I said about them is crap."<ref>Mark Perry, Sniffin' Glue, March 1977 edition, quoted in Needs 2005, p.69</ref> According to one of the band's associates{{who|for=Who is this associate?|date=January 2024}} the deal "was later used as a classic example of the kind of contract that no group should ever sign—the group had to pay for their own tours, recordings, remixes, artwork, expenses&nbsp;..."<ref>Roadent, quoted in [[#CITEREFStrongman2008|Strongman 2008]], p. 199.</ref> According to Strummer in March 1977:

{{blockquote|Signing that contract did bother me a lot. I've been turning it over in my mind, but now I've come to terms with it. I've realised that all it boils down to is perhaps two-year's security&nbsp;... Before, all I could think about was my stomach&nbsp;... Now I feel free to think—and free to write down what I'm thinking about&nbsp;... And look—I've been fucked about for so long I'm not going to suddenly turn into Rod Stewart just because I get £25.00 a week. I'm much too far gone for that, I tell you.{{sfn|Coon|1977}}}}

Mickey Foote, who worked as a technician at the band's concerts, was hired to produce their debut album, and Terry Chimes was drafted back for the recording. The band's first single "White Riot" was released in March and peaked at number 34 in the [[UK Singles Chart]]. The album ''[[The Clash (album)|The Clash]]'' was released the following month and peaked at number 12 on the [[UK Albums Chart]];<ref name=":13" /> with lyrics criticising the ruling establishment, bosses and the police and addressing themes such as alienation and boredom.{{Sfn|Needs|2005|p=|pp=69-71}}{{Sfn|Gilbert|2005|p=148}}

''The Clash'' presaged the band's future works with their cover of the reggae song "[[Police and Thieves]]". The band had been influenced by the subject matter, slogans and lyrics of reggae, which they often played in rehearsals but recording "Police and Thieves" was an important step that was only taken after a lot of discussion within the group.{{Sfn|Gilbert|2005|p=|pp=132-136}}{{Sfn|Needs|2005|p=|pp=71-72}}

According to music journalist and former punk musician [[John Robb (musician)|John Robb]]: "Amidst the Sex Pistols' inertia in the first half of 1977, the Clash found themselves as the flag-wavers of the punk rock consciousness".{{sfn|Robb|2006|p=325}} Though ''The Clash'' quickly rose to number 12 in the UK, CBS refused to give it a US release, believing that its raw, barely produced sound would make it unmarketable there.{{sfn|Gimarc|2005|p=61}} A North American version of the album with a modified track listing was released in the US in 1979 after the UK release had become the US's best-selling import album of the year.<ref name="RS198004-The_Clash">{{cite magazine| last = Henke| first = James| date = 3 April 1980| title = There'll Be Dancing In The Streets: The Clash|magazine=Rolling Stone | pages = 38–41}}</ref>

Chimes, whose career aspirations owed little to the punk ethos, left the band again soon after the recording sessions. He later said: "The point was I wanted one kind of life and they wanted another and, like, why are we working together, if we want completely different things?"{{sfn|Letts|2001|loc=18:09–18:16}} As a result, only Simonon, Jones and Strummer are featured on the album's cover, and Chimes was credited as "Tory Crimes". Strummer later said: "We must have tried every drummer that then had a kit. I mean every drummer in London. I think we counted 205. And that's why we were lost until we found Topper Headon."{{sfn|Letts|2001|loc=30:30–30:41}} Simonon nicknamed Headon, who had briefly played with Jones's band London SS, "Topper" because he felt Headon resembled [[Mickey the Monkey]], a character in the comic [[Topper (comic book)|''Topper'']].<ref>[[#CITEREFGray2005|Gray 2005]], p. 244. Gray misspells the character's name as Micky.</ref> Headon could also play piano, bass and guitar. The day after he signed to the band, Headon said: "I really wanted to join the Clash. I want to give them even more energy than they've got—if that's possible";{{sfn|Coon|1977}} in an interview over twenty years later, he said his original plan was to stay briefly, gain a name for himself, and then move on to a better gig.{{sfn|Letts|2001|loc=38:07–38:11, 38:33–38:35}} Strummer later said: "Finding someone who not only had the chops, but the strength and the stamina to do it was just the breakthrough for us".{{sfn|Letts|2001|loc=38:35–38:44}}

In May, The Clash set out on the White Riot Tour, headlining a punk package that included Buzzcocks, [[The Jam]], Subway Sect, [[The Slits]] and [[The Prefects]].{{sfn|Robb|2006|pp=329–339}} The day after a Newcastle gig, Strummer and Headon were arrested for stealing pillowcases from their hotel room.{{sfn|Robb|2006|p=338}} The highlight of the tour was the [[Rainbow Theatre]] in London on 9 May; it was the first time The Clash had played a major music venue. The audience began ripping up seats and the gig turned into a riot.<ref name=":13" /> [[The Sun (United Kingdom)|''The Sun'']] reported the violence with the front-page headline "Punk Wreck".{{Sfn|Needs|2005|p=80-83}}''New Musical Express,'' while expressing serious concerns over the violence, said: "The Clash are probably the best band in the country right now".<ref>{{Cite journal |last=Spencer |first=Neil|date=21 May 1977 |title=Is This What We Ordered? |journal=New Musical Express |pages=7}}</ref> Strummer commented: "That was the night punk broke&nbsp;... we were in the right place doing the right thing at the right time".{{Sfn|Salewicz|2006|p=199}}

That same month, CBS released "[[Remote Control (The Clash song)|Remote Control]]" as ''The Clash''{{'s}} second single, defying the wishes of the band, who saw it as one of the album's weakest tracks.{{sfn|Strongman|2008|pp=201–202}} Headon's first recording with the band was the single "[[Complete Control]]", which addresses the band's anger at their record label's behaviour. It was co-produced by reggae artist [[Lee "Scratch" Perry]],<ref name=":13" /> though Foote was summoned to "ground things". The single was released in September 1977 and ''[[NME]]'' commented that CBS had allowed the group to "bait their masters". The single peaked at number 28 on the UK chart and has been cited as one of punk's greatest singles.{{sfn|Strongman|2008|pp=203–204}}<ref name="RS500Songs">{{cite magazine |url=https://www.rollingstone.com/music/music-lists/500-greatest-songs-of-all-time-151127/the-clash-complete-control-71974/ |title=The RS 500 Greatest Songs of All Time (2004)|date=9 December 2004 |magazine=RollingStone }}</ref>

In October 1977, the Clash set out on the "Out of Control" UK tour. The tour was due to open at the [[Ulster Hall]], Belfast but the insurance was pulled and the gig was cancelled at the last moment. This led to punks blocking the road outside the venue and a confrontation between the punks and the police, which became known as the "Battle of Bedford Street".<ref>{{Cite journal|last=McCelland|first=Colin|date=29 October 1977|title=Clash visit Belfast for picture session|journal=New Musical Express|pages=9}}</ref><ref>{{Cite journal|last=Birch|first=Ian|date=29 October 1977|title=Clash Lose Control|journal=Melody Maker|pages=30}}</ref><ref>{{Cite book|last=Bailie|first=Stuart|title=Trouble Songs|publisher=Bloomfield|year=2018|isbn=978-1-5272-2047-8|location=Belfast|pages=95–106}}</ref>

In February 1978, the Clash released the single "[[Clash City Rockers]]";<ref name=":13" /> and played the song live, along with "[[Tommy Gun (song)|Tommy Gun]]", on BBC television's youth show ''[[Something Else (TV series)|Something Else]]''.<ref>{{Cite web|last=Whatley|first=Jack|date=19 May 2019|title=A look back at 'Something Else' the only place to be punk on the BBC|url=https://faroutmagazine.co.uk/something-else-bbc-classic-performance-the-clash-joy-division-the-jam-the-specials/|website=Far Out Magazine}}</ref><ref>{{Cite web|date=1 August 2011|title=SELDOM SEEN: THE CLASH PERFORM 'CLASH CITY ROCKERS' ON TV FROM 1978|url=https://dangerousminds.net/comments/seldom_seen_the_clash_clash_city_rockers|website=Dangerous Minds}}</ref> On 30 April, the Clash played at [[Rock Against Racism]] in [[Victoria Park, Tower Hamlets|Victoria Park, London]]. Late 1970s England had seen an increase in racist attacks and a growth in support for the far-right political party [[National Front (UK)|The National Front]]. Also on the bill were [[X-Ray Spex]], [[Steel Pulse]], [[Misty in Roots]], and headliners [[Tom Robinson Band]]; they played to 100,000 people, who marched through London and attended the RAR Carnival.<ref>{{Citation|title=White Riot|url=https://www.rottentomatoes.com/m/white_riot|access-date=2022-02-18}}</ref><ref>{{Cite journal|last=Salewicz|first=Chris|date=6 May 1978|title=Black And White Unite|journal=New Musical Express|pages=}}</ref>{{Sfn|Gilbert|2005|pp=187-189}}

In June, the band released "[[(White Man) In Hammersmith Palais]]" as a single, which peaked at number 32 in the UK Singles chart;<ref name=":13" /> it quickly became a favourite with Clash fans and was voted single of the year in the 1978 ''NME'' Readers' Poll.<ref name=":2">{{Cite journal|date=20 January 1979|title=1978 NME Readers' Poll|journal=New Musical Express}}</ref><ref>{{Cite web|title=1978|url=https://www.nme.com/nme-awards/awards-history/1978-606197|website=NME|date=28 February 1978}}</ref>

Before the Clash began recording their second album, CBS requested they adopt a cleaner sound than its predecessor to reach American audiences. [[Sandy Pearlman]], who is known for his work with [[Blue Öyster Cult]], was hired to produce the record. Simonon later said: "[R]ecording that album was just the most boring situation ever. It was just so nitpicking, such a contrast to the first album&nbsp;... it ruined any spontaneity."{{sfn|Letts|2001|loc=42:43–42:56}} Strummer said: "it wasn't our easiest session".{{sfn|Ferraz|2001}} The band dismissed their manager Bernie Rhodes and hired journalist [[Caroline Coon]] to replace him.<ref name=":13" />

The album ''[[Give 'Em Enough Rope]]'' was released in early November 1978,{{sfn|Gray|2005|p=291–292}}<ref>{{cite magazine |last=Marcus |first=Greil |author-link=Greil Marcus |url=https://www.rollingstone.com/artists/theclash/albums/album/248769/review/5940574/give_em_enough_rope |title=The Clash: Give 'Em Enough Rope |access-date=29 March 2008 |date=25 January 1979 | magazine=Rolling Stone|archive-url = https://web.archive.org/web/20080318055407/http://www.rollingstone.com/artists/theclash/albums/album/248769/review/5940574/give_em_enough_rope |archive-date = 18 March 2008|url-status=dead}}</ref> and received mixed reviews in the UK music press, where some reviewers complained about its relatively mainstream production style.<ref>{{Cite journal |last=Savage |first=Jon |date=11 November 1978 |title=War 'N' Pizza |journal=Melody Maker}}</ref><ref>{{Cite journal |last=Kent |first=Nick |date=11 November 1978 |title=White Punks On Rope |journal=New Musical Express}}</ref><ref>{{Cite journal |last=McCullough |first=Dave |date=11 November 1978 |title=The last gang in town |journal=Sounds}}</ref> The album reached number 2 in the UK album chart.<ref name=":1">{{Cite web |title=Official Chart History - The Clash |url=https://www.officialcharts.com/artist/16161/clash/ |website=Official Charts UK}}</ref> ''NME'' readers voted ''Give 'Em Enough Rope'' the second-best album of 1978 and the Clash were voted the best group in the same end-of-year poll.<ref name=":2" /> In the US, the album peaked at number 128 on the [[Billboard charts|''Billboard'' chart]].{{citation needed|date=January 2023}}

"Tommy Gun", the album's first UK single, peaked at number 19, the highest chart position for a Clash single to date.<ref name=":1" /><ref name=":13" /> To accompany the single, the band produced their first official music video, in which Joe Strummer wears an [[H-Blocks|H Block]] T-shirt in support of the campaign for political status for [[Irish republicanism|Irish Republican]] prisoners.<ref>''Tommy Gun'' video, The Clash - The Essential Clash DVD.</ref> The band embarked on a North American tour, culminating in a performance at the [[Palladium (New York City)|Palladium]] in New York City.<ref name=":13" />

"[[English Civil War (song)|English Civil War]]", which warned against the rise of the far-right in the UK, was released as the album's second single in February 1979, reaching number 25 in the [[UK Singles Chart]].<ref name=":1" /> The B-side is a cover of the [[Toots and the Maytals]]' song "[[Pressure Drop (song)|Pressure Drop]]", once again illustrating the group's reggae influences.{{citation needed|date=January 2024}}

In support of the album, the Clash toured the UK supported by the Slits and [[The Innocents (UK punk band)|the Innocents]]. The tour, which consisted of more than thirty shows, was promoted as the Sort It Out Tour. The band later undertook their first, largely successful tour of North America in February 1979.<ref>Kozak, Roman (3 March 1979). "Surprisingly Few Clashes Noted As the Clash Tours the Nation". ''Billboard'': 103.</ref>

In June 1979, the band released the [[Extended Play]] (EP) ''[[The Cost of Living (EP)|The Cost of Living]]'',<ref name=":13" /> which includes a cover of [[Bobby Fuller]]'s song "[[I Fought the Law]]", two original songs and a re-recording of "[[Capital Radio (song)|Capital Radio]]".{{Sfn|Needs|2005|p=138}} The EP reached 22 in the UK charts and the band dismissed Coon as their manager.<ref name=":13" /> They then embarked on a second tour of the US, adding [[Mick Gallagher]] on keyboards.<ref name=":13" />

===Changing style and US breakthrough: 1979–1982===
[[File:TheClashLondonCallingalbumcover.jpg|thumb|The cover of ''London Calling'', from a photo by [[Pennie Smith]].<ref name=BBC2010>{{cite web |author=Kerley, Paul |url=http://www.bbc.co.uk/6music/news/20100617_clash.shtml |title =London Calling cover honoured |date=17 June 2010 |access-date=17 June 2010 |publisher=BBC/6 Music}}</ref>]]

In August and September 1979, The Clash recorded the double album ''[[London Calling]]'', which [[Guy Stevens]], a former [[A&R]] executive who had worked with [[Mott the Hoople]] and [[Traffic (band)|Traffic]], produced.<ref name=":13" /> The double album was a mix of punk rock, reggae, ska, rockabilly and traditional rock and roll.<ref>{{cite web |url =http://www.musicbox-online.com/cl-lc.html |title =The Clash London Calling 25th Anniversary Legacy Edition |access-date =19 November 2007 |last =Metzger |first =John |date=November 2004 |publisher=The Music Box
}}</ref> It is regarded as one of the greatest rock albums ever recorded.<ref>{{cite web
 |url ={{AllMusic |class=album |id=r4095 |pure_url=yes}} |title=London Calling Review |access-date =19 November 2007 |last=Erlewine |first=Stephen Thomas |publisher=allmusic.com}}</ref><ref>{{Cite web |last=Theatre |first=The Capitol |title=10 Times the Clash's "London Calling" Was Recognized as One of the Greatest Albums of All Time {{!}} The Capitol Theatre |url=https://www.thecapitoltheatre.com/blog/detail/10-times-the-clashs-london-calling-was-recognized-as-one-of-the-greatest-albums-of-all-time |access-date=2023-10-20 |website=www.thecapitoltheatre.com |language=en}}</ref> In the US, the single "[[Train in Vain]]" became their first top-40 hit, peaking at number 23 on the ''Billboard'' chart. In the UK, the [[London Calling (song)|title track]] was released as a single and peaked at number 11—the highest position any Clash single reached in the UK before the band's break-up.<ref name=":13" />

''London Calling'' was released in December 1979; it peaked at number 9 on the British album chart and at number 27 in the United States, where it was issued in January 1980.<ref name=":13" /> The album's cover photograph by [[Pennie Smith]] became one of the most-recognisable images<ref name="BBC2010" /> and [[Q (magazine)|''Q'' magazine]] later cited it as the "best rock 'n roll photograph of all time".<ref>{{cite news |author=Battersby, Matilda |url=https://www.independent.co.uk/arts-entertainment/art/features/london-calling-top-uk-artists-pay-tribute-to-the-clashs-war-artist-2000876.html |title=London Calling: Tracey Emin and friends pay tribute to the Clash's 'official war artist' |date=16 June 2010 |access-date=17 June 2010 |work=The Independent |location=UK |archive-date=19 June 2010 |archive-url=https://web.archive.org/web/20100619233517/http://www.independent.co.uk/arts-entertainment/art/features/london-calling-top-uk-artists-pay-tribute-to-the-clashs-war-artist-2000876.html |url-status=dead}}</ref>{{sfn |Gray |2005 |p=503}} During this period, The Clash began to be regularly billed as "The Only Band That Matters". Musician [[Gary Lucas]], who was employed by CBS Records' creative services department, has said he coined the tagline.<ref>Diehl, Matt (2007). ''My So-Called Punk'' (Macmillan), p. 187.</ref> Fans and journalists soon widely adopted the epithet.<ref>{{cite journal |last=Norris |first=Chris |date=21 July 1997 |title=Cult Cash Clan |journal=New York}}</ref>

[[File:Paul_Simonon_The_Clash_September_20_1979_Palladium_NYC.jpg|thumb |Paul Simonon of the Clash performs at the [[Palladium (New York City)|Palladium]], 20 September 1979. (Photo: S. Sherman)]]

At the end of 1979, the band members attended a private screening of a new film called ''[[Rude Boy (film)|Rude Boy]]'', which is part fiction and tells the story of a Clash fan who leaves his job in a [[Soho]] sex shop to become a roadie for the group. The movie, which was named after the [[rude boy]] subculture, includes footage of the band on tour, at a London [[Rock Against Racism]] concert, and in the studio recording ''Give 'Em Enough Rope''.<ref name=":13" /> The band were disenchanted with the film so they had [[Better Badges]] make badges that said: "I don't want RUDE BOY Clash Film".<ref>[[#CITEREFGray2005|Gray 2005]], p.334. For image of badge, see {{cite web |url=http://pinstand.com/pins/clash.html#0067 |title=The Clash Pins |access-date=10 August 2011 |publisher=WWWhatsup Online Pinstand}}</ref> On 27 February 1980, the film premiered at the [[30th Berlin International Film Festival]],{{sfn |Gray |2005 |p=334}} where it won an honourable mention.<ref>{{cite web |url=http://www.berlinale.de/en/archiv/jahresarchive/1980/03_preistr_ger_1980/03_Preistraeger_1980.html |title=Prizes & Honours (1980) |access-date=11 August 2011 |publisher=Internationale Filmfestspiele Berlinprint |archive-date=15 October 2013 |archive-url=https://web.archive.org/web/20131015120841/http://www.berlinale.de/en/archiv/jahresarchive/1980/03_preistr_ger_1980/03_Preistraeger_1980.html |url-status=dead}}</ref>

The Clash had planned to record and release a single every month in 1980. CBS dismissed this idea and the band released only one single—an original reggae song called "[[Bankrobber]]", in August. It featured [[Mikey Dread]] and reached number 12 in the UK Singles Chart.<ref name=":13" /> In October, the band's US record company released a B-side compilation EP called ''[[Black Market Clash]]'', which was later re-released in expanded form as a full-length album.<ref name=":13" />

In December 1980, The Clash released the 36-song triple album ''[[Sandinista!]]'', which again reflected a broad range of musical styles. It was produced by the band members with further participation of [[Mikey Dread]]. ''Sandinista!'' proved to be controversial, both politically and musically.<ref>Jaffee, Larry (1987). ''The Politics of Rock'' (Popular Music and Society), pp. 19–30.</ref> Critical opinions were divided; ''[[Trouser Press]]'' writer Ira Robbins described half of the album as "great" and the other half as "nonsense" and worse,<ref>{{cite web  |url =http://www.trouserpress.com/entry.php?a=clash  |title =Clash  |access-date =4 September 2008  |publisher=Trouser Press}}</ref> while ''[[New Rolling Stone Record Guide]]'' critic [[Dave Marsh]] said: "''Sandinista!'' is nonsensically cluttered. Or rather ''seems'' nonsensically cluttered. One of the Clash's principal concerns&nbsp;... is to avoid being stereotyped."<ref>Marsh, Dave. "The Clash". In Dave Marsh and John Swenson, eds. (1983), ''The New Rolling Stone Record Guide'' (Random House/Rolling Stone Press), pp. 99–100.</ref> The album sold reasonably well in the US, where it charted at number 24.<ref name="rockhall-The_Clash">{{cite web |url=http://www.rockhall.com/inductees/the-clash |title=The Clash |access-date=19 November 2007 |date =10 March 2003 |work=Induction |publisher=The Rock and Roll Hall of Fame and Museum |archive-url=https://web.archive.org/web/20100430132108/http://rockhall.com/inductees/the-clash  |archive-date =30 April 2010 |url-status=dead}}</ref> In the UK, the album peaked at number 19 and the single "The Call Up" charted at number 40.<ref name=":13" /> In January 1980, Rhodes was reinstated as the band's manager and the single "Hitsville UK" reached number 54 in the UK Singles Chart while "The Magnificent Seven" charted at number 34, and the band spent most of the year touring.<ref name=":13" />

In December 1981, the Clash released "[[This Is Radio Clash]]" as a single; it charted at number 47 in the UK Singles Chart.<ref name=":13" /> In September 1981, the band began work on their fifth album ''[[Combat Rock]]'', which [[Glyn Johns]] produced and was released in May 1982. In the UK, the first single "Know Your Rights" reached number 43.<ref name=":13" /> The lead single in the US was "[[Should I Stay or Should I Go]]", which was released in June 1982 and received significant airplay on [[Album-oriented rock]] (AOR) stations. The follow-up single "[[Rock the Casbah]]" was composed by Headon, who performed the percussion, piano and bass on the track.{{sfn|Gray|2005|p=380}} It became the band's biggest US hit, charting at number eight while the album reached number two in the UK and number seven in the US.<ref name=":13" />

===Disintegration and break up: 1982–1986===

After the release of ''Combat Rock'', the Clash began to disintegrate. In May 1982, Headon was asked to leave the band because his addiction caused reliability problems.{{sfn|Letts|2001|loc=1:07:11–1:08:09, 1:08:59–1:09:54.}}<ref name=Cromelin>{{cite journal|last=Cromelin |first=Richard |date=31 January 1988 |title=Strummer on Man, God, Law and the Clash |journal=Los Angeles Times |url=http://www.strummernews.com/latimes88.html |access-date=19 November 2007 |url-status=dead |archive-url=https://web.archive.org/web/20071020203022/http://strummernews.com/latimes88.html |archive-date=20 October 2007 }}</ref> Chimes was brought back to drum for the next few months. The band opened for [[The Who]] on a leg of their final US tour that included a show at New York's [[Shea Stadium]].<ref name=":13" />

Chimes left the band after the Combat Rock Tour and was replaced with [[Pete Howard]] in May 1983.<ref name=":13" /> The Clash co-headlined the [[US Festival]] in [[San Bernardino, California]], on 28 May in front of a crowd of 140,000.<ref name=":13" /> After the show, members of the band brawled with security staff.{{sfn|Gray|2005|p=398}} The festival was Jones' last appearance with the band; Strummer and Simonon dismissed him in September that year.<ref name=":13" /> [[Nick Sheppard]], formerly of the [[Bristol]]-based band [[The Cortinas (punk band)|The Cortinas]], and Vince White were recruited as the Clash's new guitarists.<ref name=":13" /> The band's new lineup played their first shows in January 1984 with a batch of new material and embarked on the self-financed Out of Control Tour, travelling widely over the winter and into early summer. The band also headlined a benefit show for striking miners.<ref name=":13" />

In November 1985, they released the album ''[[Cut the Crap]]''; it includes the single "[[This Is England (song)|This Is England]]", which charted at number 24 in the UK Singles Chart.<ref name=":13" /> Strummer later noted: "CBS had paid an advance for it so they had to put it out".<ref name="joestrummer.us">{{cite web|url=http://www.joestrummer.us/?n9P81fmSnwwFUbhFAMuAAxe6bb31IUP&p=2&aOHDhtT57WPxn9Z7bWGQa3BBQbFVu17LfZSa&c=1&CxeQAdg5hVrrDtzOUCasLrnVGV7&XUZHs |title=Interview |work=Record Collector |year=2000 |access-date=5 December 2008 |publisher=Joe Strummer Resource |url-status=dead |archive-url=https://web.archive.org/web/20111005220200/http://www.joestrummer.us/?n9P81fmSnwwFUbhFAMuAAxe6bb31IUP&p=2&aOHDhtT57WPxn9Z7bWGQa3BBQbFVu17LfZSa&c=1&CxeQAdg5hVrrDtzOUCasLrnVGV7&XUZHs |archive-date=5 October 2011 }}</ref> Dave Marsh later listed "This Is England" as one of the top 1001 rock singles of all time.<ref>Marsh, Dave (1989). ''The Heart of Rock & Soul: The 1001 Greatest Singles Ever Made'' (Penguin), pp. 77–80. {{ISBN|0-14-012108-0}}.</ref> The album peaked at number 16 in the UK Albums Chart and at number 88 in the US.<ref name=":13" /> Strummer largely disowned the album<ref name="Cromelin" /> but later said: "I really like 'This Is England' and [album track] 'North and South' is a vibe".<ref name="joestrummer.us" />

In January 1986, it was announced that the Clash had disbanded.<ref name=":13" /> Strummer later said: "When the Clash collapsed, we were tired. There had been a lot of intense activity in five years. Secondly, I felt we'd run out of idea gasoline. And thirdly, I wanted to shut up and let someone else have a go at it."{{sfn|Johnstone|2006|p=104}}

===Collaborations, reunions and Strummer's death: 1986–present===
After his dismissal, Jones formed [[Big Audio Dynamite]] (B.A.D.), who released their debut album ''[[This Is Big Audio Dynamite]]'' late in 1985. Jones and Strummer worked together on their respective 1986 projects; Jones helped with the two songs Strummer wrote and performed for the soundtrack to the film ''[[Sid and Nancy]]'' (1986), and Strummer co-wrote a number of the tracks for the second B.A.D. album ''[[No.&nbsp;10, Upping St.]]'', which he also co-produced.<ref name="joestrummer.us"/> With Jones committed to B.A.D., Strummer moved on to solo projects and screen acting. Simonon formed a band called [[Havana 3am]]. Headon recorded a solo album ''[[Waking Up (Topper Headon album)|Waking Up]]'' but was imprisoned in 1987 for drug-related offences.<ref name=":13" />

In 1988, the compilation album ''[[The Story of the Clash, Volume 1]]'' was released and the single "I Fought The Law" was reissued and reached number 29 in the UK Singles Chart.<ref name=":13" /> On 2 March 1991, a reissue of "Should I Stay or Should I Go" gave the Clash their first and only number-one UK single.<ref name=":13" /> The same year, "Rock the Casbah" featured on a broadcast of [[Armed Forces Radio]] during the [[Gulf War]].<ref>{{cite news |url=http://www.cbc.ca/arts/film/strummer.html |title=Revolution Rock: Documentary Pays Tribute to Clash Frontman Joe Strummer |publisher=Canadian Broadcasting Corporation |date=1 February 2008 |access-date=13 April 2008 |archive-url=https://web.archive.org/web/20080313094918/http://www.cbc.ca/arts/film/strummer.html |archive-date=13 March 2008}}</ref><ref name=":13" />

In 1999, Strummer, Jones and Simonon cooperated in compiling the live album ''[[From Here to Eternity: Live|From Here to Eternity]]'' and the video documentary ''[[Westway to the World]]''. On 7 November 2002, the [[Rock and Roll Hall of Fame]] announced the Clash would be inducted the following March.<ref>{{cite web |url=http://www.mtv.com/news/articles/1458560/20021107/acdc.jhtml |archive-url=https://web.archive.org/web/20021119091236/http://www.mtv.com/news/articles/1458560/20021107/acdc.jhtml |url-status=dead |archive-date=19 November 2002 |title=AC/DC, Clash, Police To Be Inducted Into Rock Hall Of Fame |access-date=2 September 2008 |date=7 November 2002 |author=Vineyard, Jennifer |publisher=MTV}}</ref> On 15 November, Jones and Strummer shared the stage, performing three Clash songs during a London benefit show by [[Joe Strummer and the Mescaleros]].<ref name="rockhall-The_Clash" /> Strummer, Jones and Headon wanted to play a reunion show to coincide with their induction into the Hall of Fame; Simonon did not want to participate because he believed playing at the high-priced event would not have been in the spirit of the Clash. On 22 December 2002, Strummer died from a congenital heart defect, ending any possibility of a full reunion. In March 2003, Strummer, Jones, Simonon, Chimes and Headon were inducted into the Hall of Fame.<ref name="rockhall-The_Clash" />

In early 2008, [[Carbon/Silicon]], a new band founded by Mick Jones and his former London SS bandmate [[Tony James (musician)|Tony James]], entered into a six-week residency at London's Inn on the Green. On opening night, 11 January, Headon joined the band for the Clash's song "Train in Vain". An encore followed with Headon playing drums on "Should I Stay or Should I Go". This was the first time since 1982 that Headon and Jones had performed together on stage.<ref>{{cite web |url=https://www.nme.com/news/clash/33615 |title=The Clash's Mick Jones and Topper Headon reunite after 25 years |access-date=15 January 2005 |date=14 January 2005 |work=NME |location=UK |archive-url=https://web.archive.org/web/20080121084038/http://www.nme.com/news/clash/33615 |archive-date=21 January 2008 |url-status=dead }}</ref>

[[File:Grafiti rijeka 2108.jpg|thumb|Graffiti in Rijeka, Croatia, commemorating Joe Strummer]]

In September 2009, Jones and Headon reunited to re-record the 1970s Clash B-side "Jail Guitar Doors" with [[Billy Bragg]], who founded an eponymous charity that gives musical instruments and lessons to prison inmates.<ref>{{cite web |url=http://www.denverthread.com/archives/488 |title=Billy Bragg teams up with "Clash"-ers Mick Jones & Topper Headon for "Jail Guitar Doors" |access-date=25 May 2010 |date=21 September 2009 |publisher=Denver Thread |archive-url=https://web.archive.org/web/20110709013257/http://www.denverthread.com/archives/488 |archive-date=9 July 2011 |url-status=dead |df=dmy-all}}</ref> Simonon and Jones are featured on the title track of the [[Gorillaz]] album ''[[Plastic Beach]]'' (2010), marking the first time they had worked together in over twenty years. They later joined Gorillaz on their [[Escape to Plastic Beach Tour]] for the remainder of 2010.<ref>{{cite web |url=http://www.digitalspy.com/music/news/a205006/gorillaz-thrilled-to-work-with-the-clash.html |title=Gorillaz 'thrilled' to work with The Clash |access-date=8 March 2010 |date=24 February 2010 |website=Digital Spy}}</ref>

In July 2012, Strummer's daughters Jazz and Lola gave a rare interview to discuss the tenth anniversary of Strummer's death, his legacy and the possibility of a Clash reunion had their father lived. Jazz said: <blockquote>There was talk about the Clash reforming before he died. But there had been talk for years and years about them reforming. They had been offered stupid amounts of money to do it, but they were very good at keeping the moral high ground and saying no. But I think if Dad hadn't died, it would have happened. It felt like it was in the air.<ref>{{cite news |author=Lena Corner |url=https://www.theguardian.com/lifeandstyle/2012/jul/28/joe-strummer-daughters-jazz-lola |title=Our dad, Joe Strummer, remembered {{pipe}} Life and style |newspaper=The Guardian |access-date=1 September 2013 |location=London |date=28 July 2012}}</ref>{{Relevance inline |reason=What is the enduring encyclopedic significance of this opinion? |date=July 2022}}</blockquote>

In the UK on 9 September 2013, and a day later in the US, the Clash released a 12-disc box set called ''[[Sound System (album)|Sound System]]'', which includes their re-mastered studio albums on eight discs and three discs featuring demos, non-album singles, rarities and B-sides; a [[DVD]] with previously unseen footage by [[Don Letts]] and Julien Temple and other film footage; and merchandising ephemera, including an exclusive the Clash poster. Mick Jones and Paul Simonon oversaw the project, including the re-masters. The box set was accompanied by ''[[5 Album Studio Set]]'', which contains the first five studio albums (excluding ''[[Cut the Crap]]''), and ''[[The Clash Hits Back]]'', a 33-track, two-CD best-of collection.<ref>{{cite news |author=Michael Hann |url=https://www.theguardian.com/music/2013/may/21/the-clash-box-set-remastered-albums-rarities |title=The Clash to release new box set of remastered albums and rarities {{pipe}} Music |work=theguardian.com |access-date=1 September 2013 |location=London |date=21 May 2013}}</ref><ref>{{cite web |url=https://www.amazon.com/Sound-System-The-Clash/dp/B008U3NU38/ref=sr_1_1?ie=UTF8&qid=1369126674&sr=8-1&keywords=the+clash+sound+system |title=Sound System: Music |website=Amazon |date=25 May 2013 |access-date=1 September 2013}}</ref>

In a 3 September 2013 interview with ''[[Rolling Stone]]'', Mick Jones discussed the band reuniting, saying it likely would not have occurred. Jones said: <blockquote>There were a few moments at the time I was up for it (Hall of Fame reunion in 2003), Joe was up for it. Paul wasn't. And neither, probably, was Topper, who didn't wind up even coming in the end. It didn't look like a performance was going to happen anyway. I mean, you usually play at that ceremony when you get in. Joe had passed by that point, so we didn't. We were never in agreement. It was never at a point where all of us wanted to do it at the same time. Most importantly for us, we became friends again after the group broke up, and continued that way for the rest of the time. That was more important to us than the band.<ref name="RollingStone-Greene">{{cite magazine |author=Andy Greene |url=https://www.rollingstone.com/music/news/the-clashs-mick-jones-this-is-it-for-me-20130830 |title=Mick Jones on Clash Box Set {{pipe}} Music News |magazine=Rolling Stone |date=30 August 2013 |access-date=17 April 2014 |archive-date=1 March 2014 |archive-url=https://web.archive.org/web/20140301203327/http://www.rollingstone.com/music/news/the-clashs-mick-jones-this-is-it-for-me-20130830 |url-status=dead }}</ref>
</blockquote>

Jones also stated the ''Sound System'' box set was the last time he would be involved in the band's releases: "I'm not even thinking about any more Clash releases. This is it for me, and I say that with an exclamation mark".<ref name="RollingStone-Greene" />

On 6 September 2013, Mick Jones, Paul Simonon and Topper Headon reunited for an exclusive [[BBC Radio 6 Music]] show to promote their legacy and the release of ''Sound System''.<ref>{{cite web |url=http://www.radiomusik.it/10713/i-clash-si-riuniscono-per-una-notte-alla-bbc-radio/ |title=I Clash si riuniscono per una notte alla BBC Radio {{pipe}} Radiomusik musica e programmi radio live |publisher=Radiomusik.it |access-date=1 September 2013 |date=19 August 2013 }}</ref>

In an October 2013 interview with BBC 6 Music, Jones said Strummer did have intentions of a Clash reunion and that new music was being written for a possible album. In the months before Strummer's death, Jones and Strummer began working on new music for what he thought would be the next Mescaleros album. Jones said:<blockquote> We wrote a batch&nbsp;– we didn't used to write one, we used to write a batch at a time&nbsp;– like gumbo. The idea was he was going to go into the studio with the Mescaleros during the day and then send them all home. I'd come in all night and we'd all work all night.</blockquote>

According to Jones, months after their work together, he ran into Strummer at an event; Strummer informed him the songs were going to be used for the next Clash album.<ref>{{cite web |url=http://www.contactmusic.com/story/mick-jones-secret-strummer-tunes-could-have-sparked-the-clash-s-comeback_3892188 |title=The Clash – Mick Jones: 'Secret Joe Strummer Tunes Could Have Sparked The Clash's Comeback' |publisher=Contact Music |access-date=4 October 2013 |date=4 October 2013}}</ref> On 6 April 2022, the Clash announced the re-release of ''[[Combat Rock]]'', including demos with [[Ranking Roger]]'s vocals, titled 'Combat Rock / The People's Hall'. "Rock the Casbah (Ranking Roger)" and "Red Angel Dragnet (Ranking Roger)" were released as supporting singles. The re-release occurred on 20 May 2022 to mixed reviews.<ref>{{Cite web |date=2022-04-06 |title=The Clash announce special edition of 'Combat Rock' with 'The People's Hall' |url=https://www.nme.com/news/music/the-clash-announce-special-edition-of-combat-rock-with-the-peoples-hal-ranking-rogerl-3199454 |access-date=2022-05-03 |website=NME |language=en-GB}}</ref>

On 11 November 2022, a month before the 20th anniversary of Strummer's death, founding member [[Keith Levene]] died in [[Norfolk]], England.<ref>{{Cite web |date=2022-11-12 |title=Keith Levene, founding member of the Clash, dies at 65 |url=https://www.theguardian.com/music/2022/nov/12/keith-levene-founding-member-of-the-clash-dies-at-65-public-image-ltd |access-date=2022-11-17 |website=the Guardian |language=en}}</ref>