The album's cover art was designed by Gene Greif, the front of which was based on a postcard titled "End of the Trail", photographed by Adrian Atwater and featuring Wallace Irving Robertson. The cover of the first US pressings showed the band's name written in block capital letters. Subsequent U.S. pressings used a faux-oriental style font, which was then replaced with the more ornate faux-oriental style font used on the UK release. The original American issue of the album also retitled "All the Young Punks" as "That's No Way to Spend Your Youth". This was revised on later editions. "Tommy Gun" and "English Civil War" were released as the album's singles, either side of Christmas 1978. They entered the UK charts at numbers 19 and 25, respectively. Though the opening track of side two, "Guns on the Roof", is ostensibly about global terrorism, war and corruption, it was partly inspired by an incident that resulted in the Metropolitan Police's armed anti-terrorist squad raiding the Clash's Camden Market base. Paul Simonon and Topper Headon were arrested and charged with criminal damage for shooting racing pigeons with an air-gun from the roof of their rehearsal building. The band continued to include contemporary subjects in their lyrics on the album; "Tommy Gun" deals with Middle Eastern terrorism, specifically the hi-jacking of aircraft, while "Julie's Been Working for the Drug Squad" is a commentary on the infamous "Operation Julie" drug bust that saw the largest LSD production ring in the world, based in Wales, dismantled by an undercover police operation. The song also makes a reference to the Beatles' song "Lucy in the Sky with Diamonds" in the opening line, "It's Lucy in the sky and all kinds of apple pie". "Julie's Been Working for the Drug Squad" was originally titled "Julie's in the Drug Squad", as listed on the original pressing of the album. The song's title was changed when Give 'Em Enough Rope was released on CD. During recording of the album, Joe Strummer's trademark Telecaster guitar needed to be taken in for repairs, so he played a hired semi-hollow Gibson ES-345 for most of the sessions. Sandy Pearlman, who produced the original album, was not a big fan of Joe Strummer's voice, to the point that he ensured the drums were mixed louder than the lead singer's vocals on the entire album. Other songs recorded during the sessions included the single " In Hammersmith Palais", as well as B-sides "Pressure Drop", "1-2 Crush on You" and "The Prisoner". Four more songs were recorded: "One Emotion", "Groovy Times", "Ooh Baby Ooh " and "RAF 1810."
Critical reception
In a contemporary review for Rolling Stone, Greil Marcus hailed Give 'Em Enough Rope as a poised, unpretentious record of "straight English punk with a grip on the future" and "accessible hard rock" showcasing the Clash's unyielding, humorous "vision of public life": "The band's vision of a world strangling on its own contradictions hasn't changed, but their idea of their place in that world has." Robert Christgau wrote in The Village Voice that the album's pessimistic mood and a couple of bad songs or moments made it less listenable than the band's debut record, but concluded that most of the songs were "effective melodically as anything on The Clash, and even the band's ruminations on the star as culture hero become more resonant as you hear them over and over again. This isn't among the greatest rock albums ever, but it is among the finest of the year." He named it the fourth best album of 1978 in his list for the Pazz & Jop, an annual poll of American critics in which Give 'Em Enough Rope also finished fourth. Sounds magazine named it the year's best record. In 1993, Give 'Em Enough Rope was named the 87th greatest album of all time in NME magazine. Q included the record in their "100 Best Punk Albums" list, and wrote in retrospect, "...no more punk than Blondie... shined of quality....their drumming problems were over with the arrival of jazz-trained Headon."
