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"text": "“Kingston Advice” is one of Sandinista!’s starkest reality checks: a slow, ominous reggae tune where the band imagines Kingston not as exotic backdrop, but as a war‑zone for ordinary people caught between poverty, violence, and foreign power. The “advice” in the lyric boils down to: don’t beg, don’t expect mercy, and don’t buy the lies of those dropping bombs or pulling the economic strings—“don’t beg for your life” gets read by some writers as a blunt call to resist rather than submit, especially in the shadow of U.S. and U.K. interventions in Jamaica and the wider Caribbean.\n\nIt’s also a late‑album echo of the band’s ethos: taking Black Jamaican music seriously enough to let dub and roots rhythms carry a song that’s basically just about people suffering in a country at war, with the white narrators pulled out of the center of the story"
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"text": "The great Mikey Dread on this one and many others: https://medialoper.com/certain-songs-229-the-clash-one-more-time-one-more-dub"
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"name": "Tuff Gong, Chronicles"
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"text": "Bob Marley was born on this day in 1945 (d. May 11, 1981 age 36).\n--\nThe sixth album by Bob Marley, Peter Tosh, and Bunny Wailer -- the last before Tosh and Bunny departed and the band became Bob Marley & The Wailers.\n\nThis album was ranked #319 on the Rolling Stone list of the 500 greatest albums of all time, and was added to the Library of Congress' National Recording Registry in 2007 for its historical and cultural significance. https://tinyurl.com/5vhrbujx https://tinyurl.com/3vwx9cbp\n\nThe album's cover inspired Lauryn Hill's cover for her debut, 'The Miseducation of Lauryn Hill'."
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"text": "The hook—“whatever we need Jah put a we feet”—frames the song as a meditation on faith, alignment, and trusting that provision and purpose are already under you if you stay grounded. Protoje’s verses lean into simple living, health, gratitude, and rural self‑sufficiency, while Damian comes in with that heavier, elder‑statesman energy about resilience and putting life and truth above ego or fear. It lands like a 2026 answer record to classic roots themes: instead of doom, it offers steady, anti‑panic reassurance that the foundation is strong and we move forward step by step, “at we feet.”"
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"text": "“Well Done” is Kabaka Pyramid’s razor‑sharp anti‑corruption anthem, released as a single in 2015 on Ghetto Youths International and produced by Damian “Jr. Gong” Marley. Over a tough modern‑roots riddim, he uses heavy sarcasm—“well done, well done, Mr. Politician man, you’ve done a wonderful job of tearin’ down the country”—to call out Jamaican and global leaders for IMF deals, privatization, and policies that keep poverty and unemployment high."
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"text": "This song was written by and originally recorded by The Clash for the 1979 album, \"London Calling.\"\n--\nJimmy Cliff, the Jamaican musician and actor who helped propel reggae into the international spotlight, died last November at 81 years old. : https://www.npr.org/2025/11/24/nx-s1-4526570/jimmy-cliff-obituary-reggae"
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"name": "Virgin"
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"text": "Linton Kwesi Johnson's \"Five Nights of Bleeding\" was dedicated to Leroy Harris, a victim of a fatal stabbing at a party in South London's sound clash scene. Johnson first published it as a poem in 1974.\n__\nhttps://lintonkwesijohnson.com/"
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"text": "Fearon has said he actually wrote “Can’t Stop Us” back in the 1970s while he was still a member of The Gladiators, but the tune never came out at the time; this 2025 version is its first proper release. Lyrically it’s straight uplift and resistance—“they can’t stop us, no matter how them try… we are moving on to liberty”—folding slavery, exploitation, and “Babylon tricks” into a defiant chorus that insists people will keep pushing toward freedom and dignity."
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"name": "White Riot"
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"text": "This song was written after Joe Strummer and bassist Paul Simonon were involved in the riots at the Notting Hill Carnival of 1976.\n\nStrummer pointed out how inner-city Black youth were fighting back against poverty and heavy-handed policing. “White Riot” was a call to white youth to join the fight.\n\nRead the story behind \"White Riot\": https://faroutmagazine.co.uk/the-clash-white-riot-the-story-behind-the-song/"
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"text": "The album [Sandinista] clearly displays the influence of reggae musician and producer Lee \"Scratch\" Perry (who had worked with the band on their 1977 single \"Complete Control\" and who had opened some of the band's shows during its stand at Bond's in New York in 1980), with a dense, echo-filled sound on even the straight rock songs.\n\nThe track was recorded at Sarm East Studios in Whitechapel, engineered by Mickey Foote and produced by Lee \"Scratch\" Perry. Perry had heard the band's cover of his Junior Murvin \"Police and Thieves\" and was moved enough to have put a picture of the band (the only white artist accorded such an honor) on the walls of his Black Ark Studios in Jamaica. When the Clash learned that Perry was in London producing for [Bob Marley & the Wailers he was invited to produce the single. \"Scratch\" readily agreed."
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"text": "By request for Rafael in Peru!\n--\n“El genio del dub” is Los Fabulosos Cadillacs tipping their hat directly to the Jamaican studio alchemists who shaped so much of their sound—Lee “Scratch” Perry, King Tubby, Scientist, all the folks who turned mixing desks into instruments. Even in a catalog that constantly blends ska, reggae, salsa, rock, and punk, this track is one of the places where they lean fully into dub logic: bass and drums pushed up front, horns and keys dropping in and out, and space and echo doing as much storytelling as the lyrics.\n\nFabulosos Cadillacs came up in 80s Buenos Aires worshipping the same UK ska and punk that The Clash were part of, then fed that back through Latin rhythms and Jamaican dub to create something distinctly their own. “El genio del dub” lives right in that lineage: a Latin American band using dub not just as a style, but as a political and aesthetic toolkit—very much in the spirit of what The Clash were reaching for when they folded reggae and dub into their own fight‑music."
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"name": "Police & Thieves"
},
"label": {
"labelid": 19387453,
"name": "Mango Records"
},
"comments": [
{
"commentid": 211999723,
"text": "This 1977 album was co-written by Junior Murvin with the legendary reggae producer Lee \"Scratch\" Perry. \"Police and Thieves\" had already become a huge hit in the UK before The Clash made the song even more famous with their cover version on their debut album. Originally recorded simply to fill space, the band were incredibly nervous about being a white rock band covering a reggae song so deeply entrenched in Jamaican roots.\n__\nCheck out Junior Murvin performing the song in 1980: https://youtu.be/XlP3J3J3Upw"
}
],
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},
{
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"playtype": {
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"name": "Air break"
},
"airdate": "2026-02-06T13:41:58Z",
"epoch_airdate": 1770385318000,
"epoch_airdate_v2": "/Date(1770385318000)/",
"archive_urls": {
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"comments": [],
"showid": 65852
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{
"playid": 3613822,
"playtype": {
"playtypeid": 1,
"name": "Media play"
},
"airdate": "2026-02-06T13:32:19Z",
"epoch_airdate": 1770384739000,
"epoch_airdate_v2": "/Date(1770384739000)/",
"archive_urls": {
"32": null,
"64": null,
"128": null,
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},
"artist": {
"artistid": 1939203787,
"name": "Bob Marley & The Wailers",
"islocal": false
},
"release": {
"releaseid": 1009505606,
"name": "Exodus",
"largeimageuri": "https://dn720709.ca.archive.org/0/items/mbid-302c7818-8f32-4370-8f97-c335b1a0db6d/mbid-302c7818-8f32-4370-8f97-c335b1a0db6d-1817044560_thumb500.jpg",
"smallimageuri": "https://dn720709.ca.archive.org/0/items/mbid-302c7818-8f32-4370-8f97-c335b1a0db6d/mbid-302c7818-8f32-4370-8f97-c335b1a0db6d-1817044560_thumb250.jpg"
},
"releaseevent": {
"releaseeventid": 890985085,
"year": 2001
},
"track": {
"trackid": 1443936279,
"name": "Punky Reggae Party (Jamaican 12\" version)"
},
"label": {
"labelid": 176658999,
"name": "Tuff Gong"
},
"comments": [
{
"commentid": 2089533836,
"text": "Bob Marley was born on this day in 1945 (d. May 11, 1981 age 36).\n\nBob Marley wrote “Punky Reggae Party” as a positive response to the release of the Clash's cover version of Junior Murvin's \"Police and Thieves.\" The lyrics mention several punk and reggae groups that will be at the party: \"The Wailers will be there, The Damned, The Jam, The Clash – Maytals will be there, Dr. Feelgood too\"\n\nListen to a live version of this song performed in 1978: https://youtu.be/_4rpRVnwVQU"
}
],
"showid": 65852
},
{
"playid": 3613820,
"playtype": {
"playtypeid": 1,
"name": "Media play"
},
"airdate": "2026-02-06T13:28:37Z",
"epoch_airdate": 1770384517000,
"epoch_airdate_v2": "/Date(1770384517000)/",
"archive_urls": {
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},
"artist": {
"artistid": 674359598,
"name": "Skip Marley",
"islocal": false
},
"release": null,
"releaseevent": {
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"year": null
},
"track": {
"trackid": 1164396706,
"name": "In Our Sight"
},
"label": null,
"comments": [
{
"commentid": 877391523,
"text": "“In Our Sight” is a 2025 single from Skip Marley, produced by Supa Dups and released on Def Jam/Island as a stand‑alone track that leans hard into classic roots‑reggae sonics. The riddim deliberately pulls from foundation tunes—built over a Dennis Brown “Westbound Train”‑style groove with horns echoing The Abyssinians’ “Satta Massagana” line—so it feels like modern Marley family uplift riding directly on 70s roots DNA.\n\nLyrically it’s a straight, big‑tent anthem about collective struggle and unity: “arms in arms tonight, side by side, victory is in our sight… don’t stop striving while our hearts still beating,” with verses calling out corruption and “Babylon” while insisting that systems fall when people unify. On an International Clash Day tip, it’s a perfect spiritual descendant of what The Clash were reaching for when they folded roots‑reggae and anti‑authoritarian politics together—only here it’s coming right from the Marley line, explicitly sampling and re‑voicing the same roots language about Babylon, solidarity, and dancing your way toward liberation."
}
],
"showid": 65852
},
{
"playid": 3613819,
"playtype": {
"playtypeid": 1,
"name": "Media play"
},
"airdate": "2026-02-06T13:23:52Z",
"epoch_airdate": 1770384232000,
"epoch_airdate_v2": "/Date(1770384232000)/",
"archive_urls": {
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"artist": {
"artistid": 707587465,
"name": "Scientist",
"islocal": false
},
"release": {
"releaseid": 1523684937,
"name": "Dub Selector 2",
"largeimageuri": null,
"smallimageuri": null
},
"releaseevent": {
"releaseeventid": 1969676227,
"year": 2002
},
"track": {
"trackid": 870394683,
"name": "Step It Up (Dan Donovan for Don Letts dub Cartel)"
},
"label": {
"labelid": 2144090312,
"name": "Quango Records"
},
"comments": [
{
"commentid": 2138172637,
"text": "“Step It Up (Dan Donovan for Don Letts Dub Cartel)” is a heavy, spacious remix of Scientist’s “Step It Up,” done by Big Audio Dynamite/Beat mainstay Dan Donovan in collaboration with Don Letts’ Dub Cartel crew for a modern DJ context. \n\nIt keeps Scientist’s cavernous drums and bass at the center but pushes the tune toward the club: longer builds, extra echo‑trails, and a bit more mid‑range presence so it punches on a big system without losing that roots‑dub depth. It's a parallel to what The Clash and Letts did in the late 70s—pulling Jamaican soundsystem culture into punk/post‑punk spaces—only here it’s Letts’ orbit helping carry classic 80s Jamaican dub into 2000s‑and‑beyond dance and bass culture."
}
],
"showid": 65852
},
{
"playid": 3613818,
"playtype": {
"playtypeid": 4,
"name": "Air break"
},
"airdate": "2026-02-06T13:20:55Z",
"epoch_airdate": 1770384055000,
"epoch_airdate_v2": "/Date(1770384055000)/",
"archive_urls": {
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"track": null,
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"comments": [],
"showid": 65852
},
{
"playid": 3613817,
"playtype": {
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"name": "Media play"
},
"airdate": "2026-02-06T13:15:03Z",
"epoch_airdate": 1770383703000,
"epoch_airdate_v2": "/Date(1770383703000)/",
"archive_urls": {
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"64": null,
"128": null,
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},
"artist": {
"artistid": 539526307,
"name": "The Clash",
"islocal": false
},
"release": {
"releaseid": 401297869,
"name": "Sandinista!",
"largeimageuri": "https://ia600502.us.archive.org/8/items/mbid-bd75a130-7ee1-4b68-940b-592b5f21c605/mbid-bd75a130-7ee1-4b68-940b-592b5f21c605-11523292523_thumb500.jpg",
"smallimageuri": "https://ia600502.us.archive.org/8/items/mbid-bd75a130-7ee1-4b68-940b-592b5f21c605/mbid-bd75a130-7ee1-4b68-940b-592b5f21c605-11523292523_thumb250.jpg"
},
"releaseevent": {
"releaseeventid": 1691617734,
"year": 1999
},
"track": {
"trackid": 949237202,
"name": "The Crooked Beat"
},
"label": {
"labelid": 2097627989,
"name": "Epic"
},
"comments": [
{
"commentid": 636191096,
"text": "“The Crooked Beat” spotlights Paul Simonon—the Brixton kid whose reggae obsession is a huge part of why The Clash sound like The Clash at all. It’s his second lead vocal after “The Guns of Brixton,” and again he drags the band deep into dubby, woozy territory that’s worlds away from straight three‑chord punk.\nOn Sandinista! it plays like a little Brixton short story: kids sneaking out from tower blocks to find a sound system that can “take the pressure off,” while cops prowl the “crooked beat” outside. That tension—between state pressure and a DIY, immigrant‑driven culture built around bass, drums, and community—might be the most International Clash Day thing ever: the band using Jamaican rhythm and street‑level detail to argue that the dance floor is where you resist, not escape.\n\nThe title of The Clash's \"Sandinista!\" refers to the Sandinista National Liberation Front in Nicaragua."
}
],
"showid": 65852
}
]
}
