First off, I have no respectable punk credentials (is that an oxymoron?). I did buy the U.K. version on vinyl back in the late 70s, when it was the only version, but that was kind of a fluke, although I did love that record.

Anyway, personally, I like the U.S. version.

For the U.S. release, Sony replaced Deny, Cheat, Protex Blue and 48 Hours, all worthy songs, with Clash City Rockers, Complete Control, (White Man) in Hammersmith Palais, I Fought the Law and Jail Guitar Doors (yeah, they threw in an extra song).

I agree that the U.K, version hangs together better. The U.S. version sounds a little more like a collection of singles, and in fact that's what all the substituted songs were. And the substituted songs are a little less hardcore.

But to their credit Sony picked some great, in fact indispensible, songs for the U.S. version. I Fought the Law is one of the Clash's signature tracks. Complete Control, besides being a great song, was produced by reggae god Lee Perry, the Upsetter himself. And (White Man) in Hammersmith Palais is a classic, perhaps the classic, punk-reggae tune. The other two substituted songs, while great, aren't quite as historically significant.

Yeah, sure, you could buy the more authentic U.K. version and then buy the Clash collection The Singles and get all the songs that were added to the U. S. version--and more. But that collection includes a couple of the songs already on this CD, so you have to ask yourself: Do you want two versions of White Riot or Remote Control? Are you interested in everything the Clash did throughout their career, including obscure B sides? How much of a scholar are you?

Or you could find the songs Sony added on the Internet, which might be the way to go if you're a completist.

But you're a cheap lazy sod and just want one version of the Clash's first CD, I would hesitantly recommend the U.S. version.

There's no denying that the UK version of The Clash's self-titled debut is the essential version. Anyone remotely familiar with The Clash or the UK punk scene can tell you that. It's all here - the snarling, cockneyed fury, the amphetamine-laced vitriol, stungun guitar chops, DIY musicianship and songwriting (though Strummer/Jones hardly deserve to be lumped into that category) and most of all satisfying, searing music played at a breakneck pace. After all, the album's barely 40 minutes long and by 2000's standards that's not a lot of music. Then again, when was the last time 'N Sync or any other band burst out of the gate with an album like this? 1976 or 1977 if memory serves ...

The arrangement on this CD is superior to the US version. It flows much better. The right songs are here (excepting, arguably, '(White Man) In Hammersmith Palais') and this is the way The Clash intended the world to hear their debut album. That last point is probably an important one in making the case for this version.

Perhaps most importantly, though, is the fact that this album truly defines punk. It's not just three chords and a disaffected chorus. That's going through the motions. It's about emotion - raw & pure. That's what The Clash has in spades. Take 'Police & Thieves' as an example. Is it punk rock? You bet it is.

Bottom line: If you're at all interested in punk music - or music period - you need to own this album.

The one-star rating has nothing to do with what Mick, Paul + Joe were doing in 1977 and everything to do with the avarice shown by their record label in 2000. I have no intention of debating whether the US or UK version is better, either (although personally, I'll take "Clash City Rockers" and "...Hammersmith Palais" over "Protex Blue" and "Cheat" any day). The fact of the matter is, Sony should have put out one disc with all the tracks on it, rendering all such arguments moot.

This is ground zero for true punk rock, the apex, the most vital and contemporary album from the time. From the dope-smoking, alienated youth with a nowhere job in love with "Janie Jones" (a "vice queen" in all the tabloids of the day) to the rabid, spitting indignation of "White Riot" (this version leagues beyond the American one for sheer exhiliration), from the staggering roar of "London's Burning" to the cynical, hard-bitten "Cheat," this record stands as one of the most undeniably powerful and stream-lined debuts in rock history. Nary a false move, with balls and attitude and even some compassion. The reggae classic "Police and Thieves" becomes truly the Clash's own as they align themselves with downtrodden and oppressed rude boy culture. Joe Strummer and Mick Jones were a songwriting duo worthy of mention along with Jagger/Richards and Lennon/McCartney for vivid, intense, blistering songs. Strummer and Jones and Paul Simonon were on the front lines of a youth culture that had been abandoned in sterile high rises and tower blocks, offered only a bleak future in factories and office buildings. Alienation, rage, boredom, unemployment, drugs--it's all worked into these songs. Loss of identity and individuality is dealt with in "What's My Name," the loss of integrity and principles in "Deny" and of course "Career Opportunities" are the ones that never knock. This new remastering sounds brilliant and still raw at the same time; "White Riot" has never sounded so frightening, or "I'm So Bored with the USA" so true. Buy this album if you care at all about rock'n'roll, about passion and conviction in music, about the ability of youth to be resourceful and tough and angry and to confront the real world. They don't make 'em like this anymore because everybody's sitting round watching television and playing video games and all the kids like turning rebellion into money.....

So yeah, I bought the US version a while back without hesitation. Purists may disagree, but I think it`s more about the music, not how legendary it is or what version it is. The songs taken from the original (Deny, protex blues, 48 hours, cheat) really aren`t missed when substituted with Clash- essentials like Complete Control, [White Man) In Hammersmith Palais, I Fought The Law and Clash City Rockers. This is one of my favorite albums ever, one of the few that has only a couple of skippable tracks. There are so many incredibly good songs in this, but my favorite has to be the aforementioned [White Man] In Hammersmith Palais. This isn`t their usual loud punk, but a very catchy and great reggae song. White Riot is too an excellent track, a complete opposite to [WM]IHP, a loud, angry, riot- inducing punk gem. London Burning, Garageland and Career Opportunities are also classics, very good songs.

So, I highly recommend this album. If you can`t find the US version, then buy the UK version, just nevermind what version it is if it`s available. Both are classics.