Tributes aspire to a lofty goal - to pay tribute, but not step all over, a respected artist's body of work. And when chosen to cover another artist's work for a tribute, should one shoot for a version close to the original to retain the general mentality of the sonics, or should one aspire to draw the core of the idea out of the song and re-interpret through one's own musical process? "Burning London: The Clash Tribute" rarely does either.

We mostly have bands that hard core Clash fans would NEVER listen to, doing Clash songs in way that would suit them being re-released on MTV (which would also make any die hard Clash fanatic vomit uncontrollably). That's not to say this an entire waste, but when it offends, it does so deeply. Who chose No Doubt and the Indigo Girls to be on this? Do you really believe the Indigo Girls are in touch with the blue-collar social matrixes that the Clash so diligently represented? Hardly. That is why tracks from the obvious poseurs on this disc miss the mark so hard.

So here's what you get. No Doubt doing "Hateful" - the idea of No Doubt doing a Clash song turns my stomach, but No Doubt do pull off a spirited version of this song that should appeal to No Doubt fans. That's the best I can say about that. The Urge doing "This Is Radio Clash" is really good with it's retaining of the originals stylistic claps, and comes off a bit punchier, while the large guitar ending puts a mark of The Urge upon the song.

Ice Cube and Mack 10 should be bitch-slapped for pissing on the probably most recognizable Clash song, "Should I Stay Or Should I Go". Did someone fail to mention to the Cube that this was a tribute album of Clash songs? Aside from stealing a small bit of the intro and working the words "Should I stay or should I go" into the chorus, this has absolutely NOTHING to do with the original song. I'm truly insulted.

Rancid, who is the only truly sensible inclusion in this line-up, does a big guitar version of "Cheat" and stokes the song well. Too bad it's the shortest song here.

Third Eye Blind turn in a slightly poppier version of "Train In Vain" and it comes off smarter than I'd assume Third Eye Blind would be capable of.

The Indigo Girls owe me a lunch, because I couldn't keep mine down after hearing their weepy acoustic version of "Clampdown." The Mighty Mighty Bosstones offer up a forgettable "Rudie Can't Fail," but this is probably the weakest Clash song picked so not entirely their fault.

311 does "White Man In Hammersmith Palais." I'm not familiar with the original of this song. I can say that P-Nut's bass line is cool and this isn't entirely unlistenable (even though 311 usually is). Afghan Whigs throw down an intelligently alternative version of "Lost In The Supermarket" that achieves an undeniable smoothness that the Clash could never grasp and with sweet backing vocals. This is my pick for "song of the album," as it captures the idea of the song, but wraps it in a slightly pop package that is most definitely Afghan Whigs.

Cracker should also be smacked up-side the head for turning "White Riot" into some kinda hillybilly country song complete with fiddle. AAAAAACK! I just lost any respect I might've ever had for Cracker. Y'know this comp blows when (and this really isn't meant as an insult to Silverchair) Silverchair puts up the most rockin' offering. "London's Burning" takes on a bit of a punkier heavy metal gleam from the kids. Shame on the rest of you.

Y'know - I wasn't sure how much more this disk could offend me until I heard Moby featuring Heather Nova. "Straight To Hell" is (in my opinion) one of the most aspiringly creative songs the Clash ever wrote. It deviated so far from the sound and approach of the Clash, but captured this artsy Clash vibe and is just...a beautifully original song. So what does Moby and Heather Nova do? They take the words and place them on top of two toggling notes of soft funeral organ. None of that neat bouncing percussion is used. Actually, aside from the words, nothing from the original can be felt on this. Even I could play a more creatively true piano line for this (and I don't even play the piano). Two notes. That's all the music plays for the whole song. Two notes. Seriously. I've never been more insulted by a cover song in my life. Could any less effort be put into this? (I suppose ONE note could actually go lower). I'm so put off by this closing number, I hope to meet either of these two "artists" in person some day so I can give them a copy of the original song because I don't think they ever heard it.

To summarize, this is the worst compilation I've ever heard. Any of the 2 or 3 worth while songs are overshadowed by the blasphemy of Moby and Heather Nova and the Indigo Girls. I sincerely offer out an apology to the Clash for our short-sighted American interests that pissed all over your glorious contributions to music.