Rat Patrol 2LP acetate

[matedog]

This might be a minority opinion, but in defense of Glyn Johns, the newer vocal takes on SISOSIG and KYR are big improvements. I think removing half the Spanish vocals on SISOSIG was a good choice and a tighter KYR structure is better for me. Stretching out Sean Flynn for 7 minutes works well, but five minutes of hectoring and abrasive KYR is a bit of a slog for me. That's more of a comment on structure and performance than arrangement and mixing, but I do see those as improvements.

[Wolter]

This might be a minority opinion, but in defense of Glyn Johns, the newer vocal takes on SISOSIG and KYR are big improvements. I think removing half the Spanish vocals on SISOSIG was a good choice and a tighter KYR structure is better for me. Stretching out Sean Flynn for 7 minutes works well, but five minutes of hectoring and abrasive KYR is a bit of a slog for me. That's more of a comment on structure and performance than arrangement and mixing, but I do see those as improvements.

I think I agree in substance, but I like the RP versions as intentional album tracks better than the CR ones, but the CR ones sound more like something that has at least a chance of radio play.

[Marky Dread]

This might be a minority opinion, but in defense of Glyn Johns, the newer vocal takes on SISOSIG and KYR are big improvements. I think removing half the Spanish vocals on SISOSIG was a good choice and a tighter KYR structure is better for me. Stretching out Sean Flynn for 7 minutes works well, but five minutes of hectoring and abrasive KYR is a bit of a slog for me. That's more of a comment on structure and performance than arrangement and mixing, but I do see those as improvements.

No reason why with the Clash VFM policy those Glyn Johns versions couldn't of been the 7" 12" singles only.

[Marky Dread]

Did they really need a named producer a Steve Lillywhite or a Martin Rushent? Someone who at the very least would be receptive to Mick's inventive ideas.

Listening to RP I feel there is very little wrong with Mick's production. Just listen to "Red Angel Dragnet" and those weird layers of sound under the track that he achieved.

So true! Mick's production sounds like an *urban vietnam* - humid, dense jungle vibe filled with hazy marijuana and narco-funk elements. Thick dub without sounding muddy. And it compliments Joe's themes of government angst, political turmoil, urban vigilantism, drug addled vets, etc.

Keith Forsey and Martin Rushnet would be a mismatch for the album's intent. Steve Lillywhite had great work with Big Country at this time but he sounds too bright' and open for me. Though he was also called to 'rescue' 3 Joshua Tree singles ( Streets, With or Without, Red Hill).

I'd have opted for Nile Rogers if they were going for a clean up job. He may have lost the atmosphere but would be great to hear him tackle RTC, SISOSIG, Overpowered, Red Angel, Car Jamming.

Conny Plank's work on the first Hunters & Collectors album is amazing (as his most of his Krautrock production). There's a menu of sounds, rhythmic elements, deep bass, clanging guitars and muscular production with attention to the arrangements.

Also Dennis Bovell who worked with Linton Kwesi Johnson. Absolutely fantastic producer with the right aesthetic for The Clash.

I don't think any producer was needed. The biggest sin here was the band not having faith in Mick's abilities behind the desk.

No, you know who would have been perfect for this? Brian Eno.

Daniel Lanois?

[Silent Majority]

Did they really need a named producer a Steve Lillywhite or a Martin Rushent? Someone who at the very least would be receptive to Mick's inventive ideas.

Listening to RP I feel there is very little wrong with Mick's production. Just listen to "Red Angel Dragnet" and those weird layers of sound under the track that he achieved.

So true! Mick's production sounds like an *urban vietnam* - humid, dense jungle vibe filled with hazy marijuana and narco-funk elements. Thick dub without sounding muddy. And it compliments Joe's themes of government angst, political turmoil, urban vigilantism, drug addled vets, etc.

Keith Forsey and Martin Rushnet would be a mismatch for the album's intent. Steve Lillywhite had great work with Big Country at this time but he sounds too bright' and open for me. Though he was also called to 'rescue' 3 Joshua Tree singles ( Streets, With or Without, Red Hill).

I'd have opted for Nile Rogers if they were going for a clean up job. He may have lost the atmosphere but would be great to hear him tackle RTC, SISOSIG, Overpowered, Red Angel, Car Jamming.

Conny Plank's work on the first Hunters & Collectors album is amazing (as his most of his Krautrock production). There's a menu of sounds, rhythmic elements, deep bass, clanging guitars and muscular production with attention to the arrangements.

Also Dennis Bovell who worked with Linton Kwesi Johnson. Absolutely fantastic producer with the right aesthetic for The Clash.

I don't think any producer was needed. The biggest sin here was the band not having faith in Mick's abilities behind the desk.

No, you know who would have been perfect for this? Brian Eno.

Daniel Lanois?

Ah, the murk.

[Heston]

This might be a minority opinion, but in defense of Glyn Johns, the newer vocal takes on SISOSIG and KYR are big improvements. I think removing half the Spanish vocals on SISOSIG was a good choice and a tighter KYR structure is better for me. Stretching out Sean Flynn for 7 minutes works well, but five minutes of hectoring and abrasive KYR is a bit of a slog for me. That's more of a comment on structure and performance than arrangement and mixing, but I do see those as improvements.

Totally agree but the biggest improvement for me is Joe's vocal on Ghetto Defendant. It's goes from one of his worst ever vocals on RP to one of his best ever on CR. I don't know if it was Glyn's doing but it was a remarkable turnaround.

[bazarboy75]

This might be a minority opinion, but in defense of Glyn Johns, the newer vocal takes on SISOSIG and KYR are big improvements. I think removing half the Spanish vocals on SISOSIG was a good choice and a tighter KYR structure is better for me. Stretching out Sean Flynn for 7 minutes works well, but five minutes of hectoring and abrasive KYR is a bit of a slog for me. That's more of a comment on structure and performance than arrangement and mixing, but I do see those as improvements.

Agree sisosig is far better on cr and that kyr version we got here sound more like a jam or a démo BUT that hihat to bad they didn t kept it that bring something really cool on the track.
My feeling about that wonderful stuff is that i m hearing a band enjoy themself. I never had this feeling with cr.

[Dr. Medulla]

Being a fan of hectoring, I much prefer the CR version of KYR. Generally, the delivery is more direct, more serious.

[Heston]

Being a fan of hectoring, I much prefer the CR version of KYR. Generally, the delivery is more direct, more serious.

Really? I think the opposite. It seems a bit affected on the RP take. And "fish money?" Wtf? The best take of KYR is on FHTE, barnstorming performance.

[IkarisOne]

So true! Mick's production sounds like an *urban vietnam* - humid, dense jungle vibe filled with hazy marijuana and narco-funk elements. Thick dub without sounding muddy. And it compliments Joe's themes of government angst, political turmoil, urban vigilantism, drug addled vets, etc.

Keith Forsey and Martin Rushnet would be a mismatch for the album's intent. Steve Lillywhite had great work with Big Country at this time but he sounds too bright' and open for me. Though he was also called to 'rescue' 3 Joshua Tree singles ( Streets, With or Without, Red Hill).

I'd have opted for Nile Rogers if they were going for a clean up job. He may have lost the atmosphere but would be great to hear him tackle RTC, SISOSIG, Overpowered, Red Angel, Car Jamming.

Conny Plank's work on the first Hunters & Collectors album is amazing (as his most of his Krautrock production). There's a menu of sounds, rhythmic elements, deep bass, clanging guitars and muscular production with attention to the arrangements.

Also Dennis Bovell who worked with Linton Kwesi Johnson. Absolutely fantastic producer with the right aesthetic for The Clash.

I don't think any producer was needed. The biggest sin here was the band not having faith in Mick's abilities behind the desk.

No, you know who would have been perfect for this? Brian Eno.

Daniel Lanois?

Ah, the murk.

Check out Eno's work with Talking Heads, Devo and Ultravox. I think he would have been perfect-- pre-U2, of course-- to help Mick get the kind of sound he was striving towards, and could've toughened it up without that big beat bombast Johns veered towards. Also check out My Life in the Bush of Ghosts, which I guarantee you Mick was listening to in 1981.

[IkarisOne]

This might sound like an off the wall choice but Todd Rundgren would have been a good pick too. I think he and Mick would have hit it off and he was/is a big a pothead as they were. He helped The Psychedelic Furs and Cheap Trick make the transition from riff-rock to more mainstream New Wave club-ready stuff and could have done the same with The Clash.

[Marky Dread]

I don't think any producer was needed. The biggest sin here was the band not having faith in Mick's abilities behind the desk.

No, you know who would have been perfect for this? Brian Eno.

Daniel Lanois?

Ah, the murk.

Check out Eno's work with Talking Heads, Devo and Ultravox. I think he would have been perfect-- pre-U2, of course-- to help Mick get the kind of sound he was striving towards, and could've toughened it up without that big beat bombast Johns veered towards. Also check out My Life in the Bush of Ghosts, which I guarantee you Mick was listening to in 1981.

I have no doubt Mick with his love of music had indeed heard "My Life in the Bush of Ghosts" (great album) but I also imagine Mick being a fan of Holger Czukay and Can for his use of sampling and found sounds. With Eno and Byrne the sampling was more based on the vocals which made that album really unique.

[Marky Dread]

This might sound like an off the wall choice but Todd Rundgren would have been a good pick too. I think he and Mick would have hit it off and he was/is a big a pothead as they were. He helped The Psychedelic Furs and Cheap Trick make the transition from riff-rock to more mainstream New Wave club-ready stuff and could have done the same with The Clash.

I'm sure that the fact Todd produced the Dolls album would've been a big plus. That said when Todd worked with XTC Andy Partridge hated him.

[IkarisOne]

This might sound like an off the wall choice but Todd Rundgren would have been a good pick too. I think he and Mick would have hit it off and he was/is a big a pothead as they were. He helped The Psychedelic Furs and Cheap Trick make the transition from riff-rock to more mainstream New Wave club-ready stuff and could have done the same with The Clash.

I'm sure that the fact Todd produced the Dolls album would've been a big plus. That said when Todd worked with XTC Andy Partridge hated him.

Indeed. But it was also their biggest selling album at a point in time when the entire industry had written them off years before.

[Marky Dread]

This might sound like an off the wall choice but Todd Rundgren would have been a good pick too. I think he and Mick would have hit it off and he was/is a big a pothead as they were. He helped The Psychedelic Furs and Cheap Trick make the transition from riff-rock to more mainstream New Wave club-ready stuff and could have done the same with The Clash.

I'm sure that the fact Todd produced the Dolls album would've been a big plus. That said when Todd worked with XTC Andy Partridge hated him.

Indeed. But it was also their biggest selling album at a point in time when the entire industry had written them off years before.

It certainly would've been interesting if whichever producer was chosen they had been someone brave and conducive to new ideas. I think Todd may have been too disciplined for The Clash.