Fucking Long Innit? The Sandinista Poll

I do think the Clash did it because they could, but that sort of oneupmanship seemed common in the '80s. "The River" was a double inspired by "London Calling." "Double Nickels on the Dime" was a double because of "Zen Arcade" ("Take that, Huskers!"). Were there more like this? The Clash I know also made a point of pricing it cheap, too, which was also a thing; they charged $14.98, which was about the price of a double (and coincidentally or not I guess a dollar cheaper than "The River"). This was also the era when Tom Petty, who refused to release "Hard Promises" at MCA's requested price, which I think was a dollar per LP increase.

The record doesn't sound like they made it that long for the money, but as a quixotic gesture (and almost to confuse the audience, giving them so much information it challenges interpretation).

The best quote about its length:

Mick Jones said, "I always saw it as a record for people who were, like, on oil rigs. Or Arctic stations. People that weren't able to get to the record shops regularly."

They definitely didn't do it for the money; iirc, they agreed to be paid royalties as if it were a single in order to get the record company to agree to the triple.

yes, exactly

I love the sound on this record fwiw

I think I voted for "Charlie Don't Surf" in this poll (uh, 15 years ago, wow). Would probably pick "Magnificent 7" now. Besides the groove it has some of Joe's best one-liners.

Why a triple album? “I don’t care about all the artistic reasons,” Joe Strummer told Rolling Stone in 1982. “That’s all bullshit. We were having a joke because everyone said we were mad to release London Calling as a double and then Springsteen put out The River as a double. So we thought, ‘Right, Bruce. Suck on this!’”

The only sane response would have been for Bruce to put out Nebraska as a 4 LP box.

https://www.youtube.com/watch?v=UlS298gEQaE

It's incredible to me how well they clean up for the studio.

Sounds great to me.

their "Police on My Back" >> Eddy Grant's. It sounds like the world's collapsing and I'm glad Jones sings it cuz he sounds terrified

i love all the weird noises that weave through the background in it, like alarms and hissing steam or something(?)

yeah its weird how the production does flatten everything out into this limited sonic palate, which hurts a lot of the songs but makes it cohere better as an album.

i think its kinda the opposite of this idk, the production is fine on a lot of the tracks individually (especially the strongest material) but it flattens out the eclecticism across the whole album which does it as a whole no favours

I've never had a problem with the production, but I've not had a problem with the production of "Exile on Main Street," either, and people have always held that one up as rough or erratic or sonically dubious. Not coincidentally, "Sandinista!" has a sort of similar backstory, iirc, with the studio reportedly running 24-7 and rarely more than a couple of the guys in there working together at once. Same thing went down with "Combat Rock."

their "Police on My Back" >> Eddy Grant's

I need to listen to this album again. My favourite songs on it are mostly the more "punky" songs like Somebody Got Murdered, and I suppose that's one of the songs on it that I would like to hear a 1977 Clash do. But it's years, probably over a decade since I actually listened to this thing, other than sticking random songs off it on mixes

only about 1/4 of it is really very compelling at all, the rest is just curiosities

possibly. I have a high tolerance for the Clash though, I even like some of Cut The Crap

I've grown to love Sandinista! immensely, but then again, I've only listened to the edited version I posted above, which is still about 90 minutes long.

Reportedly Paul and Topper wanted a double LP but were overruled by Joe and Mick...I wonder what that would have been like? It's possible my sequence would have been close since I didn't shake up the order much and I mostly dropped the dubs (the main thing they recorded/added to make the triple LP possible), but I also dropped "The Crooked Beat" and I imagine they would have kept it just so that all four members get at least one lead vocal.

xxp hard disagree, 3/4 is compelling to me

Cut the Crap is a cautionary tale.

In the sense that they should have had the balls to go all-out and hire Trevor Horn to produce it, yes.

Worst track: Career Opportunities

Fuck that. It's the definitive version.

Yeah, I enjoy that track, but I guess more as a novelty. Still I love the concept - if you can forget the familial relationship, how awesome would it be to see some random school kids singing Clash songs like that?

They didn't really move in the weird/creepy direction too often. Triple-LP time seemed right for it.

It's a brilliant concept and realization.

It shows how capitalism has seeped down to the "Another Brick in the Wall" level.

Kid: "Ah-ah, The guns of Brixton, ah-ah! The guns of Brixton." Still gets me.

"Hey! Teacher! Leave them kids alone." Word to Prof Lord S.

"That's enough now! I'm tired of singing."

a lot of the little interlude parts of this record are so great, I sure used them on a lot of mixtapes back in the 80s and 90s (the kid singing 'Guns Of Brixton', "who holds the key that winds up Big Ben", etc)

"I'd just like to say, let's have some music now, eh?"

"who holds the key that winds up Big Ben" - Den Hegarty, ex The Darts
"I'd just like to say, let's have some music now, eh?" - Strummer, obv.