Stephen Thomas Erlewine: 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. 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. [In 2000, Columbia/Legacy reissued and remastered the album to include the U.K. songs.]

Wiki: The subject of the opening track, "Janie Jones", was a famous brothel keeper in London during the 1970s. "Remote Control" was written by Mick Jones after the Anarchy Tour and contains pointed observations about the civic hall bureaucrats who had cancelled concerts, the police, big business and especially record companies. CBS decided to release the song as a single without consulting the band. "I'm So Bored with the USA", developed from a Mick Jones song titled "I'm So Bored with You", condemns the Americanization of the UK. "White Riot" was the Clash's debut single. The song is short and intense, in a punk style of two chords played very fast (five chords are used in the whole song). Lyrically, it is about class economics and race.

"Career Opportunities", the opening track of the second side of the album, attacks the political and economic situation in England at the time, citing the lack of jobs available, and the dreariness and lack of appeal of those that were available.

"Protex Blue", sung by Mick Jones, is about a 1970s brand of condom. It was inspired by the contraceptive vending machine in the Windsor Castle's toilets. The song ends with the shouted phrase "Johnny Johnny!", johnny being a British slang term for a condom.

The version of "White Riot" featured on the album was not recorded for the album, the original demo (recorded at Beaconsfield Studios before the band signed to CBS) was used instead.

"Police & Thieves" was added to the album when the group realised that the track listing was too short. Another cover the band played at these sessions was The Wailer's "Dancing Shoes". "Garageland" was written in response to Charles Shaar Murray's damning review of the Clash's early appearance at the Sex Pistols Screen on the Green concert – "The Clash are the kind of garage band who should be returned to the garage immediately, preferably with the engine running". It was the final track recorded for the album. Full Article