- WOW — an incredible Triple Plus (A+++) side two backed with an excellent Double Plus (A++) side one for this Elvis Costello classic!
- You’re gonna love the sound here – full-bodied and punchy with a solid low end and excellent presence for Elvis’s vocals
- The bass is right – the moment-to-moment rhythmic changes in the songs are clear and the band swings the way it’s supposed to
- 5 stars on Allmusic: “The most remarkable thing about the album is the sound — Costello and the Attractions never rocked this hard, or this vengefully, ever again.”
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PUMP IT UP! This British Import Radar LP has TWO AMAZING SIDES that brilliantly and powerfully convey the energy of this hard rockin’ music.
The overall sound is punchy, lively, and dynamic with plenty of tight, note-like bass. This is key to the best copies.
The Low End Theory
A correct bottom end is absolutely CRITICAL for this album. Like Trust and Armed Forces, there’s a TON of low-end on this record; regrettably, most copies suffer from either a lack of bass or a lack of bass definition. I can’t tell you how much you’re missing when the bass isn’t right on this album. (Or if you have the typical bass-shy audiophile speaker, yuck.)
It’s without a doubt the single most important aspect of the sound on this album. When the bass is right, everything falls into place, and the music comes powerfully to life. When the bass is lacking or ill-defined, the music seems labored; the moment-to-moment rhythmic changes in the songs blur together, and the band just doesn’t swing the way it’s supposed to. (more…)
- An insanely good sounding copy with Triple Plus (A+++) sound on the first side and Double Plus (A++) on the second
- Glyn Johns produced and mixed this album, so its sonic credentials are certainly in order!
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A stunning copy, absolutely as good as it gets for this punk classic! It’s clear and open with tons of presence and detail, and no attendant sacrifice in fullness or musicality. Most of the other copies we played failed in one of two ways: if they weren’t too bright, they were dead as a doornail. But this copy knocked them all out with correct tonal balance and tons of energy.
On the surface of things, Combat Rock appears to be a retreat from the sprawling stylistic explorations of London Calling and Sandinista! The pounding arena rock of “Should I Stay or Should I Go” makes the Clash sound like an arena rock band, and much of the album boasts a muscular, heavy sound courtesy of producer Glyn Johns. But things aren’t quite that simple. Combat Rock contains heavy flirtations with rap, funk, and reggae, and it even has a cameo by poet Allen Ginsberg — if this album is, as it has often been claimed, the Clash’s sellout effort, it’s a very strange way to sell out.
Even with the infectious, dance-inflected new wave pop of “Rock the Casbah” leading the way, there aren’t many overt attempts at crossover success, mainly because the group is tearing in two separate directions. Mick Jones wants the Clash to inherit the Who’s righteous arena rock stance, and Joe Strummer wants to forge ahead into black music … its finest moments — “Should I Stay or Should I Go,” “Rock the Casbah,” “Straight to Hell” — illustrate why the Clash were able to reach a larger audience than ever before with the record. (more…)