Song Clearance Sheet
3 sources citedArmagideon Time
Reggae1970s83BPM
C minKey
More around 80 BPM → · More in C minor →
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The verdict
Documented Sampling History
Confirmed songwriter of record, no dispute found — a “Real Rock” riddim cut joining Nice Up the Dance and Cool Out Son (all in this catalog); The Clash’s famous cover was a clean, properly-licensed arrangement (they bought the publishing from Coxsone Dodd).
Quick Facts
Released1979
AlbumArmagideon Time
GenreReggae, Roots Reggae
LabelStudio One
ProducerClement “Coxsone” Dodd
Recorded atStudio One, Kingston (1977)
More infoWikipedia → · Discogs →
Who you need to ask
The songwriter of record — Willi Williams
Wikipedia → · checked Jul 2026
The current administrator — Studio One originally — present-day needs a Songview/Discogs lookup
Unknown · checked Jul 2026
Has it been reused?
Yes — a “Real Rock” riddim cut (joining Nice Up the Dance and Cool Out Son, both already in this catalog); The Clash’s famous cover was properly licensed, and it was later sampled by KRS-One and Fugees.
Do they allow reuse?
No standalone policy found; confirmed songwriter of record and no dispute found.
Related Songs
Same album, answer records, and songs worth knowing about
The riddim this is built on (already in this catalog)
Williams chose the Real Rock riddim because of this song’s dancehall popularity (already in this catalog)
Same Real Rock riddim cluster (already in this catalog)
Who Owns It
Licenses explained →The two permissions you need, and who holds them
The song itself (the writing)Willi Williams
The Clash’s cover — a clean, licensed arrangementThe Clash actually wanted to record their cover at Studio One in Jamaica using the original rhythm track — but per guitarist Mick Jones’ own account, Coxsone Dodd’s team “didn’t want to know,” though they didn’t mind selling the publishing rights. The Clash recorded their version at Wessex Studios, London (Nov 1979) as the B-side to “London Calling” — a properly purchased, licensed arrangement.
The recording (current administrator)Studio One (originally)
Receipts
Every public mention of terms, policy, or past deals we've found
Why this riddim
Williams has directly explained he chose the “Real Rock” riddim specifically because it had already become newly popular in Jamaican dancehalls thanks to Junior Murvin’s “Cool Out Son,” already in this catalog.
Perfect Sound Forever · read it →
The Clash’s disappointed pilgrimage
Per Mick Jones’ own account, the band was “bitterly disappointed” they had to return to England to record rather than cut the cover at Studio One as they’d hoped — Coxsone Dodd’s team was willing to sell the publishing but not to host the session. No lyrics reproduced.
The Clash Wiki (Fandom) · read it →
A spontaneous, ad-libbed studio moment
The Clash recording features a real studio intercom announcement from associate Kosmo Vinyl marking the target song length, with Joe Strummer’s famous ad-libbed response being completely spontaneous — an unplanned moment that added to the take’s charm.
The Clash Wiki (Fandom) · read it →
Extensive additional sample and media history
Sampled by KRS-One (“Black Cop,” 1993) and Fugees (“Zealots,” 1996), referenced in Kenny Ken’s 1994 jungle track “Everyman,” and featured in Jim Jarmusch’s “Ghost Dog” (1999), the game “Grand Theft Auto: San Andreas” (2004), and over the closing credits of James Gray’s film “Armageddon Time” (2022).
Wikipedia · read it →
Can You Use It for Free?
How to check PD →Is it public domain?No
Sample History
—
Times sampled
Famously covered by The Clash (B-side to “London Calling”)
Covers
—
First flip
Big names who used itThe Clash · KRS-One · Fugees
Who to Contact
AT
Willi Williams / Studio One
The confirmed songwriter of record
What they'll chargeNobody's shared numbers yet
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Page history · 2 updates
Jul 2026Page created — full research (Research Queue Batch 11)
Jul 2026BPM/Key pending the automated GetSongBPM/Deezer pass