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Today is International Clash Day and, this year, we’re remembering that The Clash told us to “Know Your Rights.”  Here’s an essay that John wrote about the day: https://www.kexp.org/read/2026/2/3/international-clash-day-know-your-rights/ We’re so glad you’re here with us today!\n--\nLittle is known about The London Punkharmonic Orchestra.  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The lyric stresses that physical displacement didn’t sever that connection: your African “roots” still live in your blood and your mind, so claiming them is both a spiritual act and a form of resistance to Babylon’s attempts to erase history."}],"showid":65852},{"playid":3613839,"playtype":{"playtypeid":1,"name":"Media play"},"airdate":"2026-02-06T14:38:32Z","epoch_airdate":1770388712000,"epoch_airdate_v2":"/Date(1770388712000)/","archive_urls":{"32":null,"64":null,"128":null,"256":null},"artist":{"artistid":547091507,"name":"Willi Williams","islocal":false},"release":{"releaseid":744086759,"name":"Full Up: Best of Studio One, Volume Two","largeimageuri":null,"smallimageuri":null},"releaseevent":{"releaseeventid":1653011797,"year":2006},"track":{"trackid":2028383407,"name":"Armagideon Time"},"label":{"labelid":767256875,"name":"Heartbeat Records"},"comments":[{"commentid":2085920313,"text":"Regular listeners will recognize this as the theme song to Positive Vibrations!\n--\n“Armagideon Time” is Willi Williams’ 1979 roots‑reggae warning siren, voiced over Coxsone Dodd’s immortal “Real Rock” riddim and cut at Studio One in Kingston. The title flips “Armageddon” into Jamaican patois and the lyric spells out a present‑tense apocalypse: “a lotta people won’t get no supper tonight… no justice tonight,” tying biblical end‑times language to the political violence and economic hardship tearing through late‑70s Jamaica."}],"showid":65852},{"playid":3613838,"playtype":{"playtypeid":1,"name":"Media play"},"airdate":"2026-02-06T14:36:02Z","epoch_airdate":1770388562000,"epoch_airdate_v2":"/Date(1770388562000)/","archive_urls":{"32":null,"64":null,"128":null,"256":null},"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":1975568527,"name":"Kingston Advice"},"label":{"labelid":2097627989,"name":"Epic"},"comments":[{"commentid":1289061940,"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"}],"showid":65852},{"playid":3613837,"playtype":{"playtypeid":1,"name":"Media play"},"airdate":"2026-02-06T14:32:38Z","epoch_airdate":1770388358000,"epoch_airdate_v2":"/Date(1770388358000)/","archive_urls":{"32":null,"64":null,"128":null,"256":null},"artist":{"artistid":539526307,"name":"The Clash","islocal":false},"release":{"releaseid":401297869,"name":"Sandinista!","largeimageuri":"https://ia800502.us.archive.org/8/items/mbid-bd75a130-7ee1-4b68-940b-592b5f21c605/mbid-bd75a130-7ee1-4b68-940b-592b5f21c605-11523292523_thumb500.jpg","smallimageuri":"https://ia800502.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":773901095,"name":"One More Time"},"label":{"labelid":2097627989,"name":"Epic"},"comments":[{"commentid":261586746,"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"}],"showid":65852},{"playid":3613835,"playtype":{"playtypeid":4,"name":"Air break"},"airdate":"2026-02-06T14:29:15Z","epoch_airdate":1770388155000,"epoch_airdate_v2":"/Date(1770388155000)/","archive_urls":{"32":null,"64":null,"128":null,"256":null},"artist":null,"release":null,"releaseevent":null,"track":null,"label":null,"comments":[],"showid":65852},{"playid":3613834,"playtype":{"playtypeid":1,"name":"Media play"},"airdate":"2026-02-06T14:23:29Z","epoch_airdate":1770387809000,"epoch_airdate_v2":"/Date(1770387809000)/","archive_urls":{"32":null,"64":null,"128":null,"256":null},"artist":{"artistid":1844030702,"name":"The Wailers","islocal":false},"release":{"releaseid":514874064,"name":"Burnin’","largeimageuri":"https://ia600805.us.archive.org/4/items/mbid-36140633-41c3-4a54-bf23-c26e696cf6b4/mbid-36140633-41c3-4a54-bf23-c26e696cf6b4-13801254152_thumb500.jpg","smallimageuri":"https://ia800805.us.archive.org/4/items/mbid-36140633-41c3-4a54-bf23-c26e696cf6b4/mbid-36140633-41c3-4a54-bf23-c26e696cf6b4-13801254152_thumb250.jpg"},"releaseevent":{"releaseeventid":728222726,"year":2004},"track":{"trackid":672787574,"name":"Get Up, Stand Up"},"label":{"labelid":189193944,"name":"Tuff Gong, Chronicles"},"comments":[{"commentid":607257878,"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'."}],"showid":65852},{"playid":3613833,"playtype":{"playtypeid":1,"name":"Media play"},"airdate":"2026-02-06T14:19:49Z","epoch_airdate":1770387589000,"epoch_airdate_v2":"/Date(1770387589000)/","archive_urls":{"32":null,"64":null,"128":null,"256":null},"artist":{"artistid":863734768,"name":"Protoje feat. 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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.”"}],"showid":65852},{"playid":3613832,"playtype":{"playtypeid":1,"name":"Media play"},"airdate":"2026-02-06T14:16:23Z","epoch_airdate":1770387383000,"epoch_airdate_v2":"/Date(1770387383000)/","archive_urls":{"32":null,"64":null,"128":null,"256":null},"artist":{"artistid":66356475,"name":"Kabaka Pyramid","islocal":false},"release":{"releaseid":572166075,"name":"Kontraband","largeimageuri":"https://ia903109.us.archive.org/8/items/mbid-edaac54e-6065-4eb6-b600-6f6e57747d0b/mbid-edaac54e-6065-4eb6-b600-6f6e57747d0b-20017180198_thumb500.jpg","smallimageuri":"https://ia803109.us.archive.org/8/items/mbid-edaac54e-6065-4eb6-b600-6f6e57747d0b/mbid-edaac54e-6065-4eb6-b600-6f6e57747d0b-20017180198_thumb250.jpg"},"releaseevent":{"releaseeventid":755217212,"year":2018},"track":{"trackid":1410932646,"name":"Well Done"},"label":{"labelid":1606549076,"name":"Ghetto Youths International, Bebble Rock Music"},"comments":[{"commentid":1859011405,"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. 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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."}],"showid":65852},{"playid":3613827,"playtype":{"playtypeid":1,"name":"Media play"},"airdate":"2026-02-06T13:58:27Z","epoch_airdate":1770386307000,"epoch_airdate_v2":"/Date(1770386307000)/","archive_urls":{"32":null,"64":null,"128":null,"256":null},"artist":{"artistid":539526307,"name":"The Clash","islocal":false},"release":{"releaseid":539526307,"name":"The Clash","largeimageuri":"https://ia801507.us.archive.org/7/items/mbid-573017b1-a1b6-355c-83a2-06cb344cd932/mbid-573017b1-a1b6-355c-83a2-06cb344cd932-38847611187_thumb500.jpg","smallimageuri":"https://ia801507.us.archive.org/7/items/mbid-573017b1-a1b6-355c-83a2-06cb344cd932/mbid-573017b1-a1b6-355c-83a2-06cb344cd932-38847611187_thumb250.jpg"},"releaseevent":{"releaseeventid":1193649769,"year":1999},"track":{"trackid":1389820757,"name":"White Riot"},"label":{"labelid":2097627989,"name":"Epic"},"comments":[{"commentid":1091579393,"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/"}],"showid":65852},{"playid":3613826,"playtype":{"playtypeid":1,"name":"Media play"},"airdate":"2026-02-06T13:55:14Z","epoch_airdate":1770386114000,"epoch_airdate_v2":"/Date(1770386114000)/","archive_urls":{"32":null,"64":null,"128":null,"256":null},"artist":{"artistid":539526307,"name":"The Clash","islocal":false},"release":{"releaseid":539526307,"name":"The Clash","largeimageuri":"https://ia801507.us.archive.org/7/items/mbid-573017b1-a1b6-355c-83a2-06cb344cd932/mbid-573017b1-a1b6-355c-83a2-06cb344cd932-38847611187_thumb500.jpg","smallimageuri":"https://ia801507.us.archive.org/7/items/mbid-573017b1-a1b6-355c-83a2-06cb344cd932/mbid-573017b1-a1b6-355c-83a2-06cb344cd932-38847611187_thumb250.jpg"},"releaseevent":{"releaseeventid":1193649769,"year":1999},"track":{"trackid":81638618,"name":"Complete Control"},"label":{"labelid":2097627989,"name":"Epic"},"comments":[{"commentid":1275875303,"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."}],"showid":65852}]}