The Clash songwriting credits after London Calling

[Heston]

As most people on here will know, most Clash songs up to and including Bankrobber were credited to Strummer/Jones. The only ones that weren't were cover versions, the sole Simonon credit for Guns of Brixton, and the group credit for Listen and Guns On the Roof. Everything after that was credited to "The Clash" on the album sleeves but the real story is a bit different. The "Clash Complete Chord Songbook" breaks down the songwriting credits and makes interesting reading in some cases...

The Magnificent Seven - Strummer/Jones/Simonon/Headon
Hitsville U.K. - Strummer/Jones
Ivan Meets G.I. Joe - Strummer/Jones/Headon
The Leader - Strummer/Jones
Something about England - Strummer/Jones
Rebel Waltz - Strummer/Simonon
The Crooked Beat - Strummer/Simonon
Somebody Got Murdered - Strummer/Jones
One More Time - Strummer/Jones
Lightning Strikes (Not Once but Twice) - Strummer/Jones/Simonon/Headon
Up in Heaven (Not Only Here) - Strummer/Jones
Corner Soul - Strummer/Jones
Let's Go Crazy - Strummer/Jones
The Sound of Sinners - Strummer/Jones/Headon
Midnight Log - Strummer/Jones/Headon
The Equaliser - Strummer/Jones
The Call Up - Strummer/Jones/Headon
Washington Bullets - Strummer/Jones
Broadway - Strummer/Jones/Simonon
Charlie Don't Surf - Strummer/Jones
Junkie Slip - Strummer/Jones/Headon
Kingston Advice - Strummer/Jones
The Street Parade - Strummer/Jones
Version City - Strummer/Jones/Headon
Living in Fame - Strummer/Jones/Simonon/Headon
Stop the World - Strummer/Jones/Simonon/Headon
The Magnificent Dance - Strummer/Jones/Headon
Midnight To Stevens - Strummer/Jones/Simonon/Headon
This Is Radio Clash - Strummer/Jones/Simonon/Headon
Radio Clash - Strummer/Jones/Simonon/Headon
Know Your Rights - Strummer/Jones
Car Jamming - Strummer/Jones/Simonon
Should I Stay Or Should I Go - Strummer/Jones
Rock the Casbah - Strummer/Jones/Headon
Red Angel Dragnet - Strummer/Simonon
Straight To Hell - Strummer/Jones/Simonon/Headon
Overpowered By Funk - Strummer/Jones/Headon
Atom Tan - Strummer/Jones
Sean Flynn - Strummer/Jones/Simonon/Headon
Ghetto Defendant - Strummer/Jones/Simonon
Inoculated City - Strummer/Jones
Death Is a Star - Strummer/Jones
Long Time Jerk - Strummer/Jones/Simonon
First Night Back In London - Strummer/Jones/Simonon
Cool Confusion - Strummer/Jones/Simonon/Headon

If Music Could Talk and Shepherd's Delight are not in the book for some reason, I'm assuming it's because they are variants on Living In Fame.

[Heston]

The weird one is the fact that Simonon gets a credit for Mag 7 but not Mag Dance. This could only lead me to assume that he wrote some lyrics for it.

Actually there are a lot of writing credits there for Paul, it's always assumed he was just standing in the background looking cool. The truth seems a bit different.

[101Walterton]

As most people on here will know, most Clash songs up to and including Bankrobber were credited to Strummer/Jones. The only ones that weren't were cover versions, the sole Simonon credit for Guns of Brixton, and the group credit for Listen and Guns On the Roof. Everything after that was credited to "The Clash" on the album sleeves but the real story is a bit different. The "Clash Complete Chord Songbook" breaks down the songwriting credits and makes interesting reading in some cases...

The Magnificent Seven - Strummer/Jones/Simonon/Headon
Hitsville U.K. - Strummer/Jones
Junco Partner - Strummer/Jones/Simonon/Headon
Ivan Meets G.I. Joe - Strummer/Jones/Headon
The Leader - Strummer/Jones
Something about England - Strummer/Jones
Rebel Waltz - Strummer/Simonon
The Crooked Beat - Strummer/Simonon
Somebody Got Murdered - Strummer/Jones
One More Time - Strummer/Jones
Lightning Strikes (Not Once but Twice) - Strummer/Jones/Simonon/Headon
Up in Heaven (Not Only Here) - Strummer/Jones
Corner Soul - Strummer/Jones
Let's Go Crazy - Strummer/Jones
The Sound of Sinners - Strummer/Jones/Headon
Midnight Log - Strummer/Jones/Headon
The Equaliser - Strummer/Jones
The Call Up - Strummer/Jones/Headon
Washington Bullets - Strummer/Jones
Broadway - Strummer/Jones/Simonon
Charlie Don't Surf - Strummer/Jones
Junkie Slip - Strummer/Jones/Headon
Kingston Advice - Strummer/Jones
The Street Parade - Strummer/Jones
Version City - Strummer/Jones/Headon
Living in Fame - Strummer/Jones/Simonon/Headon
Stop the World - Strummer/Jones/Simonon/Headon
The Magnificent Dance - Strummer/Jones/Headon
Midnight To Stevens - Strummer/Jones/Simonon/Headon
This Is Radio Clash - Strummer/Jones/Simonon/Headon
Radio Clash - Strummer/Jones/Simonon/Headon
Know Your Rights - Strummer/Jones
Car Jamming - Strummer/Jones/Simonon
Should I Stay Or Should I Go - Strummer/Jones
Rock the Casbah - Strummer/Jones/Headon
Red Angel Dragnet - Strummer/Simonon
Straight To Hell - Strummer/Jones/Simonon/Headon
Overpowered By Funk - Strummer/Jones/Headon
Atom Tan - Strummer/Jones
Sean Flynn - Strummer/Jones/Simonon/Headon
Ghetto Defendant - Strummer/Jones/Simonon
Inoculated City - Strummer/Jones
Death Is a Star - Strummer/Jones
Long Time Jerk - Strummer/Jones/Simonon
First Night Back In London - Strummer/Jones/Simonon
Cool Confusion - Strummer/Jones/Simonon/Headon

If Music Could Talk and Shepherd's Delight are not in the book for some reason, I'm assuming it's because they are variants on Living In Fame.

Or because Shepherd’s Delight aka Two 7’s Clash as written by Culture

[Heston]

As most people on here will know, most Clash songs up to and including Bankrobber were credited to Strummer/Jones. The only ones that weren't were cover versions, the sole Simonon credit for Guns of Brixton, and the group credit for Listen and Guns On the Roof. Everything after that was credited to "The Clash" on the album sleeves but the real story is a bit different. The "Clash Complete Chord Songbook" breaks down the songwriting credits and makes interesting reading in some cases...

The Magnificent Seven - Strummer/Jones/Simonon/Headon
Hitsville U.K. - Strummer/Jones
Junco Partner - Strummer/Jones/Simonon/Headon
Ivan Meets G.I. Joe - Strummer/Jones/Headon
The Leader - Strummer/Jones
Something about England - Strummer/Jones
Rebel Waltz - Strummer/Simonon
The Crooked Beat - Strummer/Simonon
Somebody Got Murdered - Strummer/Jones
One More Time - Strummer/Jones
Lightning Strikes (Not Once but Twice) - Strummer/Jones/Simonon/Headon
Up in Heaven (Not Only Here) - Strummer/Jones
Corner Soul - Strummer/Jones
Let's Go Crazy - Strummer/Jones
The Sound of Sinners - Strummer/Jones/Headon
Midnight Log - Strummer/Jones/Headon
The Equaliser - Strummer/Jones
The Call Up - Strummer/Jones/Headon
Washington Bullets - Strummer/Jones
Broadway - Strummer/Jones/Simonon
Charlie Don't Surf - Strummer/Jones
Junkie Slip - Strummer/Jones/Headon
Kingston Advice - Strummer/Jones
The Street Parade - Strummer/Jones
Version City - Strummer/Jones/Headon
Living in Fame - Strummer/Jones/Simonon/Headon
Stop the World - Strummer/Jones/Simonon/Headon
The Magnificent Dance - Strummer/Jones/Headon
Midnight To Stevens - Strummer/Jones/Simonon/Headon
This Is Radio Clash - Strummer/Jones/Simonon/Headon
Radio Clash - Strummer/Jones/Simonon/Headon
Know Your Rights - Strummer/Jones
Car Jamming - Strummer/Jones/Simonon
Should I Stay Or Should I Go - Strummer/Jones
Rock the Casbah - Strummer/Jones/Headon
Red Angel Dragnet - Strummer/Simonon
Straight To Hell - Strummer/Jones/Simonon/Headon
Overpowered By Funk - Strummer/Jones/Headon
Atom Tan - Strummer/Jones
Sean Flynn - Strummer/Jones/Simonon/Headon
Ghetto Defendant - Strummer/Jones/Simonon
Inoculated City - Strummer/Jones
Death Is a Star - Strummer/Jones
Long Time Jerk - Strummer/Jones/Simonon
First Night Back In London - Strummer/Jones/Simonon
Cool Confusion - Strummer/Jones/Simonon/Headon

If Music Could Talk and Shepherd's Delight are not in the book for some reason, I'm assuming it's because they are variants on Living In Fame.

Or because Shepherd’s Delight aka Two 7’s Clash as written by Culture

Isn't it Police and Thieves as well?

[101Walterton]

As most people on here will know, most Clash songs up to and including Bankrobber were credited to Strummer/Jones. The only ones that weren't were cover versions, the sole Simonon credit for Guns of Brixton, and the group credit for Listen and Guns On the Roof. Everything after that was credited to "The Clash" on the album sleeves but the real story is a bit different. The "Clash Complete Chord Songbook" breaks down the songwriting credits and makes interesting reading in some cases...

The Magnificent Seven - Strummer/Jones/Simonon/Headon
Hitsville U.K. - Strummer/Jones
Junco Partner - Strummer/Jones/Simonon/Headon
Ivan Meets G.I. Joe - Strummer/Jones/Headon
The Leader - Strummer/Jones
Something about England - Strummer/Jones
Rebel Waltz - Strummer/Simonon
The Crooked Beat - Strummer/Simonon
Somebody Got Murdered - Strummer/Jones
One More Time - Strummer/Jones
Lightning Strikes (Not Once but Twice) - Strummer/Jones/Simonon/Headon
Up in Heaven (Not Only Here) - Strummer/Jones
Corner Soul - Strummer/Jones
Let's Go Crazy - Strummer/Jones
The Sound of Sinners - Strummer/Jones/Headon
Midnight Log - Strummer/Jones/Headon
The Equaliser - Strummer/Jones
The Call Up - Strummer/Jones/Headon
Washington Bullets - Strummer/Jones
Broadway - Strummer/Jones/Simonon
Charlie Don't Surf - Strummer/Jones
Junkie Slip - Strummer/Jones/Headon
Kingston Advice - Strummer/Jones
The Street Parade - Strummer/Jones
Version City - Strummer/Jones/Headon
Living in Fame - Strummer/Jones/Simonon/Headon
Stop the World - Strummer/Jones/Simonon/Headon
The Magnificent Dance - Strummer/Jones/Headon
Midnight To Stevens - Strummer/Jones/Simonon/Headon
This Is Radio Clash - Strummer/Jones/Simonon/Headon
Radio Clash - Strummer/Jones/Simonon/Headon
Know Your Rights - Strummer/Jones
Car Jamming - Strummer/Jones/Simonon
Should I Stay Or Should I Go - Strummer/Jones
Rock the Casbah - Strummer/Jones/Headon
Red Angel Dragnet - Strummer/Simonon
Straight To Hell - Strummer/Jones/Simonon/Headon
Overpowered By Funk - Strummer/Jones/Headon
Atom Tan - Strummer/Jones
Sean Flynn - Strummer/Jones/Simonon/Headon
Ghetto Defendant - Strummer/Jones/Simonon
Inoculated City - Strummer/Jones
Death Is a Star - Strummer/Jones
Long Time Jerk - Strummer/Jones/Simonon
First Night Back In London - Strummer/Jones/Simonon
Cool Confusion - Strummer/Jones/Simonon/Headon

If Music Could Talk and Shepherd's Delight are not in the book for some reason, I'm assuming it's because they are variants on Living In Fame.

Or because Shepherd’s Delight aka Two 7’s Clash as written by Culture

Isn't it Police and Thieves as well?

Standard practise in Jamaica to to use the same backing track for several songs.

[matedog]

I assumed when we’re talking Rebel Waltz in the other thread that Mick had a hand. Strummer/Simmo is baffling. Also because Topper holds that song in such high regard, I assumed he had a hand in that too.

[Kory]

The weird one is the fact that Simonon gets a credit for Mag 7 but not Mag Dance. This could only lead me to assume that he wrote some lyrics for it.

Actually there are a lot of writing credits there for Paul, it's always assumed he was just standing in the background looking cool. The truth seems a bit different.

Some of the tracks would suggest the band was doing a lot of writing while jamming, with each member writing their own part in the context of the group dynamic. Interesting. I wouldn't mind asking Paul about a lot of these.

[Low Down Low]

The weird one is the fact that Simonon gets a credit for Mag 7 but not Mag Dance. This could only lead me to assume that he wrote some lyrics for it.

Actually there are a lot of writing credits there for Paul, it's always assumed he was just standing in the background looking cool. The truth seems a bit different.

Marcus Gray alludes to it in Last Gang, saying Paul was "actively involved in much of the writing" of the S! tracks. Apart from Crooked Beat, he doesnt offer any specifics, though, so it does rather leave it all a bit frustratingly nebulous. Would be great to know what precisely his writing contributions were.

[ArmagideonTim]

The cynic in me would suggest that it would be around this time that Paul and Topper would have seen the publishing cheques arrive and made stronger claims for their contributions to songs.

[Low Down Low]

The cynic in me would suggest that it would be around this time that Paul and Topper would have seen the publishing cheques arrive and made stronger claims for their contributions to songs.

Very possibly something to do with it. Gray also quotes a 1985 interview in which Topper seems a bit peeved that he didnt get more writing credits than he did so it seems there might have been a few round table meetings to sort out where exactly those credits went.

[Heston]

Musicians since the dawn of recorded popular music have complained that their parts are seen as mere ornamentation while the lyric and vocal melody writers get all the money. It's a contentious area.

[Silent Majority]

Musicians since the dawn of recorded popular music have complained that their parts are seen as mere ornamentation while the lyric and vocal melody writers get all the money. It's a contentious area.

It's interesting to compare Ray Davies' solo work to the Kinks', or any other main songwriter once removed from the band that gave them their best work. You can see what was added. What's Waterloo Sunset without its sha lala?

[Heston]

Musicians since the dawn of recorded popular music have complained that their parts are seen as mere ornamentation while the lyric and vocal melody writers get all the money. It's a contentious area.

It's interesting to compare Ray Davies' solo work to the Kinks', or any other main songwriter once removed from the band that gave them their best work. You can see what was added. What's Waterloo Sunset without its sha lala?

But did Ray or Dave write the sha lala?

[Silent Majority]

Musicians since the dawn of recorded popular music have complained that their parts are seen as mere ornamentation while the lyric and vocal melody writers get all the money. It's a contentious area.

It's interesting to compare Ray Davies' solo work to the Kinks', or any other main songwriter once removed from the band that gave them their best work. You can see what was added. What's Waterloo Sunset without its sha lala?

But did Ray or Dave write the sha lala?

It was the bassist.

[Heston]

Musicians since the dawn of recorded popular music have complained that their parts are seen as mere ornamentation while the lyric and vocal melody writers get all the money. It's a contentious area.

It's interesting to compare Ray Davies' solo work to the Kinks', or any other main songwriter once removed from the band that gave them their best work. You can see what was added. What's Waterloo Sunset without its sha lala?

But did Ray or Dave write the sha lala?

It was the bassist.

Yeah, I'd consider that an important part of the song. It's a similar situation with the Jam, Weller took sole credit for most of their output but I'd be surprised if Bruce and Rick never chipped a few musical ideas in. Then you hear about the bloke who wrote and played the sax riff on Baker Street receiving a one-off fee for his efforts while Gerry Rafferty raked it in for years on the strength of the two short verses he wrote.