(Punk Rock) [2LP][24/96] The Clash - The Clash, Give 'Em Enough Rope - 1977, 1978, FLAC (tracks)

The System:
RCM: Nitty Gritty 1.5 fi
TT: Linn LP12 Valhalla
Arm: Akito
Cart: Denon DL-110
Phono: Grado PH-1
Pre-Amp: McCormack Line Stage TLC-1 Deluxe
Cables: DH Labs Silver Sonic from Grado to pre, Vampire RCA to mini to:
Computer: MacBook Pro 2.2 Intel Core i7
Software: Audacity 1.3.13
ClickRepair 3.7
Izotope RX 2 v2.02 Advanced
XAct
Rarify

The Drill: Washed on RCM, Linn/Akito/Denon>Grado>SilverSonic>McCormack>Vampire>MacBook Pro>Audacity@24/96, each side broken into tracks and meta data added>FLAC’ed with XAct, numbering added to the FLAC titles>Rarified.

Never Mind the Bollocks may have appeared revolutionary, but the Clash’s eponymous debut album was pure, unadulterated rage and fury, fueled by passion for both rock & roll and revolution. Though the cliché about punk rock was that the bands couldn’t play, the key to the Clash is that although they gave that illusion, they really could play — hard. The charging, relentless rhythms, primitive three-chord rockers, and the poor sound quality give the album a nervy, vital energy. Joe Strummer’s slurred wails perfectly compliment the edgy rock, while Mick Jones’ clearer singing and charged guitar breaks make his numbers righteously anthemic. Even at this early stage, the Clash were experimenting with reggae, most notably on the Junior Murvin cover “Police & Thieves” and the extraordinary “(White Man) In Hammersmith Palais,” which was one of five tracks added to the American edition of The Clash. “Deny,” “Protex Blue,” “Cheat,” and “48 Hours” were removed from the British edition and replaced for the U.S. release with the British-only singles “Complete Control,” “(White Man) In Hammersmith Palais,” “Clash City Rockers,” “I Fought the Law,” and “Jail Guitar Doors,” all of which were stronger than the items they replaced. Though the sequencing and selection were slightly different, the core of the album remained the same, and each song retained its power individually. In 2000, Columbia/Legacy reissued and remastered the album to include the U.K. songs. Few punk songs expressed anger quite as bracingly as “White Riot,” “I’m So Bored With the U.S.A.,” “Career Opportunities,” and “London’s Burning,” and their power is all the more incredible today. Rock & roll is rarely as edgy, invigorating, and sonically revolutionary as The Clash.

Nitty Gritty RCM 1.5
Technics SL-1210 MK2 DD Turntable
Origin Live OL1 fully modified tone arm (Rega RB250)
Audio-Technica AT33EV MC Cartridge
Pro-ject Tube Box SE II Preamp
Tascam US-144 external USB 2.0 Audiointerface
AudioQuest G-Snake LGC interconnects
Mac Pro Dual Zeon 2.66 GHz
Bias Peak Pro 6.2 recording software
Click Repair 3.4.1 for de-click (manual mode only)
XLD Version 20110228 (129.0) for FLAC conversion

RCM > TT > AT33EV > TubeBox preamp > ADC > Mac Pro > Peak Pro @ 24/96 >
analyze (no clipping, DC Bias offset correction, each side gain adjusted to -0.5 dB) > split into individual tracks >
Click Repair 3.4.1 used in manual mode, 20~30 Rev, Pitch Protection, X2 >
FLAC encoded Level 8 with XLD

No DeNoise was used on this rip, except on countdown on Track 6.
No fades of tracks except at end of sides.
All de-clicking software used in full manual mode to preserve musical transients.
No music was harmed in the making of this vinyl rip.
No silence been removed, please burn gapless to match original track layout.

A2

B2

A1

B2

A2

B2