79-05-07 Cost of Living EP

The Cost of Living EP

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On this date in 1977, THE CLASH released the CAPITAL RADIO E.P. (Apr 9, 1977)

Decade 77-87 - a grown up disco: new wave, punk, postpunk, goth & indie

The 'Capital Radio' EP, a record that defied conventional distribution methods and exemplified the band's unwavering commitment to making their music accessible to all. Instead of the typical commercial release, the EP was given away free to NME readers who sent in a coupon from the magazine along with the red sticker found on The Clash's self-titled debut album. This unorthodox approach not only showcased the band's anti-establishment ethos but also ensured that their music reached the hands of dedicated fans, regardless of their financial means.

Produced by Mickey Foote and engineered by Simon Humphrey, the 'Capital Radio' EP offered a unique blend of live recordings, candid interviews, and even snippets of radio jingles. One of the standout features was an interview with the band conducted by NME's Tony Parsons, which took place during a ride on the London Underground. This intimate conversation provided fans with a rare opportunity to delve into the minds of Joe Strummer, Mick Jones, Paul Simonon, and Topper Headon, as they shared their thoughts on music, influences, and aspirations.

However, the 'Capital Radio' EP was more than just a creative record giveaway; it also served as a scathing critique of the restrictive music policies employed by London's sole legal commercial radio station at the time. The title track, 'Capital Radio', took direct aim at the station's limited playlist, which heavily favoured sophisticated pop and mainstream chart hits while largely neglecting the vibrant punk scene that was taking the city by storm.

In the song's lyrics, The Clash specifically targeted Capital Radio's then-Head of Music, Aidan Day, with the biting lines, "He picks all the hits they play/to keep you in your place all day." This pointed criticism highlighted the band's frustration with the station's failure to embrace the diverse musical landscape of London and its thriving punk movement.

Joe Strummer expressed his disappointment with Capital Radio in an interview, stating, "They're even worse because they had the chance, coming right into the heart of London and sitting in that tower right on top of everything. But they've completely blown it." He lamented the station's missed opportunity to connect with London's youth and create a buzzing atmosphere in the city by showcasing a wide range of musical offerings.

The Clash's disdain for Capital Radio's narrow-minded approach is further emphasized in the song's closing moments, as they cleverly parody one of the station's actual jingles. By replacing the lyric "in tune with London" with "in tune with nothing", the band delivered a satirical jab at the station's lack of musical diversity. This parody is heightened by the incorporation of a riff inspired by "I'm Only Dreaming" by the Small Faces, a subtle nod to the potential for embracing a broader spectrum of musical influences.

The enduring relevance of 'Capital Radio' lies not only in its biting social commentary but also in its status as a fan-favourite track. The original version, released in 1977, quickly became a sought-after recording due to its limited availability. Recognizing the song's popularity and the desire of fans to own a recorded version, The Clash re-recorded 'Capital Radio' for their 'Cost of Living' EP in January 1979, ensuring that their devoted followers could finally add this cherished track to their collections. In the annals of punk history, The Clash's 'Capital Radio' EP stands as a testament to the band's unyielding commitment to musical integrity, social critique, and fan engagement. By circumventing traditional distribution channels and using their platform to challenge the status quo, The Clash solidified their position as one of the most influential and rebellious voices of their generation. The 'Capital Radio' EP not only captured the raw energy and uncompromising spirit of punk but also served as a rallying cry for the importance of diverse musical representation and the power of challenging the establishment.

Record Mirror-Clash Release EP

21st April 1979

CLASH RELEASE EP

A FOUR-track EP from the Clash - featuring material previously unavailable on albums or singles is released on May 11.

Entitled 'The Cost Of Living' and retailing at £1.49, - the EP includes: A version of the previously unrecorded stage favourite 'I Fought The Law', 'Groovy, Times' and 'Gates Of The West' (both recorded at the 'Give 'Em Enough Rope' sessions last 1 year) and finally a re-recorded version of 'Capital Radio', previously only availabe on a promo disc.

Liverpool Echo -Cost of Living release

Friday 27th April 1979

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The eagerly awaited E.P. from The Clash will be out on May 11.

Entitled The Cost Of Living it includes material previously unavoidable on their albums or singles, and true to form it has led The Clash leto ato another confrontation with the authorities.

This time they wanted to put a replica £20 note on the front cover but the Bank Of England stepped in and gave the plan a veto, presumably because they thought it might lead to a forgers' paradise.

Side One opens with their popular version of the Sandy Curtis song I Fought The Law and to completed with Groovy Times a Strummer/Jones song.

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ALTERNATIVE CHART SOUNDS MAY 1979

Gates of the West lyrics

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Sleeve artwork

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Gates of West advert - enlrage

1979 05 The Clash's ep "Cost Of Living" advert in Sounds 19th, May 1979

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Two great CLASH 1979 posters.

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Text from an ebay listing includes: Picked as a favorite by Andrew Krivine who wrote; "This poster is a rare example of the excellent designs by Alex McDowell who founded the design agency Rocking Russian.

Too Fast To Live, To Young To Die: Punk & Post-Punk Graphics includes a number of examples of his work including a 2nd Cost of Living EP poster issued by CBS Records and posters for the Rich Kids, the power pop group Bram Tchaikovsky, the Au Pairs and the Scars.

Of note, I believe it is one of just two examples of Clash record graphics which reflects Pop Art influences.

The second example is the front label of the Clash’s 45 White Man In Hammersmith Palais, released in 1978. The White Man label is based on Roy Lichtenstein’s Pistol painting, which appeared on the cover of Time magazine in 1968.

For me, the two Clash Cost of Living EP posters really stand out. From the Sandinista LP onwards, the Clash embraced martial and agit-prop graphical elements in their promotional materials and clothing, which are indelibly associated with the group’s image.

Here is a bit of train-spotting on my part: I believe the logo Alex created for the Cost of Living EP was lifted from a popular British soap powder of the time, Daz – flogging the Clash’s music as laundry detergent. Applied Pop Art!

What I find most interesting is that Alex masterfully created a geographical rendering of the inflation fuelled economic crisis which had crippled the British economy in the late 70s.

Both America and England were grappling with runaway inflation and devastating unemployment – the ideal “kindling” to ignite the Punk Rock Explosion. I consider his superimposed stacks of coins on several major British cities to be a brilliant touch.

Lastly, I chose this poster because the record includes what I consider to be THE greatest cover song of all time; Sonny Curtis’ I Fought The Law. Has any other cover song come remotely close to this sublime rendition?"

Promo posters for EP released in-between Give 'Em Enough Rope and London Calling. The tracks "I Fought The Law", "Groovy Times", and "Gates Of The West" were later included on the US version of The Clash in 1979.

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CLASH 'Cost Of Living E.P.' (CBS)

Singles reviewed by Sandy Robertson in Sounds 12th, May 1979 Clash

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£1.49 buys lavish package and four songs. 'Groovy Times' and 'Gates Of The West' are outtakes from the 'Rope' album, the former as poppy as The Eagles and the latter simply very ordinary Clash fare. There's a re-recorded 'Capital Radio', and while it's still a fiery little streak, the suggestions in the lyrics about how said station is there 'To keep ya in yer place awl day' still strike me as leftist paranoia. And trust the lads to do a version of Sonny Curtis's 'I Fought The Law' after hearing that the original singer (Bobby Fuller) died in mysterious (possibly murderous) circumstances.

Always looking for evil or conspiracy, or big brother. Why can't Clash simply relax and enjoy the ride? Nothing's gonna change our world, as someone once sang.

Gateshead Post - Pop Scene

Thursday 07 June 1979

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Clash I Fought the Law (CBS): The best version of this song for quite a long time, it shows how far The Clash have moved ahead of the rest of the 'punk' field. The B side was planned to be Capitol Radio, but this has been dropped in favour of Strummer Jones song 'Gates of the West', which is good enough for an A side. This should be top five.

I Fought the Law lyrics