Bonds Residency
Three weeks & 17 gigs that shook up New York and America.

List of support acts

last updated 3 March 2006

Audio 1 - DAT master

Sound 4 - 1hr 57mins - 26 tracks

Lightning Strikes

Sound Quality

From the audience master transferred from DAT tape, the sound is very similar to the others recorded by this taper, a little less distant than some but not quite as good as the best ones, like the 10th June recording. There is very good detail in the sound particularly on the guitars. Bass is there but typically blurred and the sound fluctuates a little as taper gets the best ‘view’ at the start.

consistent quality and energy of the performances night after night

After 14 shows in the same venue, on almost consecutive nights it would be inconceivable that The Clash’s performances did not suffer from repetition and tiredness. There is indeed a lack of inspiration and freshness on some of the song performances tonight and Joe actually speaks to the audience about it.

However what is remarkable about the Bonds shows, (and testimony to the greatness of The Clash), is the overall consistent quality and energy of the performances night after night and although the Bonds shows are probably not amongst the very greatest of Clash concerts, they are all never less than highly enjoyable and exciting.

1-2-3-4”

The recording begins with the last few seconds of the Morricone intro music then Mick calls out “1-2-3-4” and the band slam into London Calling. Like the majority of song performances tonight it’s tight, hard and very enjoyable but not exceptional. Joe greets the audience which again at Bonds is very lively and enthusiastic with “Thank you, welcome, this is Safe European Home”. The extended ending goes on too long again and Joe fails to come up with any adlibs to make it more interesting. The main set list is now very settled and The Leader is followed by another strong Train in Vain which drops down to drum and bass again then builds impressively with the audience clapping along. Mick again is really into it playing some great guitar which is demonstrated on the improvised instrumental ending to White Man In Hammersmith Palais

On the newer songs like Radio Clash Joe sounds more intense, intoning here each word here with passion. Spanish Bombs is strong with some terrific lead guitar work from Mick. At the end of the song a weary Joe says, “You know we have to stand up here. We’ve been standing here for some time now and I know it’s not your fault but we need some encouragement” The audience though have been very enthusiastic and perhaps the comments were addressed more to himself and the band than to the audience. Whatever it works! The Call Up is intense, the band lock tight in the improvised sections and Joe adlibs “Well I sent these 2 out just to count them off, 2 by 2” Joe and the band are audibly pushing themselves to deliver more.

“Brixton” says Joe and another extended intro lacks some inspiration but Paul’s sounds though pumped up on his Guns Of Brixton. An edit at the end restarts cutting off part of Mick as he says “…you all sing along to” Joe then says “Max, max” and Topper comes up with a different, slower intro to an impressive Bankrobber.

In another swop round of the normal song order Lightning Strikes is next and Joe and the band are on it; great guitar from Mick and the band improvise powerfully. “Control” shouts Joe and Mick picks out the now usual intro which is not as effective as previously but then he stops and Topper’s sustained bass drum beat alone heralds the start of a typically at Bonds intense and powerful Complete Control. Mick delivers a very ‘straight’ solo and Topper thunders away over Mick’s soloing. The audience roar their approval at the end.

Ivan Meets GI Joe is next the recording capturing the two guitars well.

“Radio Saigon” calls Joe and the band conjure up another Apocalypse Now type soundtrack intro to Charlie Don’t Surf but unlike the previous night there is not the added bonus of Joe adlibbing over the top. It’s a very enjoyable performance though with Mick’s playing imaginative and effective and at the end of the song Mick says “This song is in support of the Vietnam veterans on hunger strike in Los Angeles its also for Ralph Cody(?)”

The second CDR begins with another powerful Magnificent Seven, Mick’s screamed “You lot” sounds great and Joe deadpans an adlibbed jibe at the new fashion “ear plugs stereo-oo ear-oles and nothing on! Walkman, Walk Man!” Not as extended as some previous nights but still very enjoyable.

As an introduction to Broadway (“took those right hooks”) and to get some audience reaction Joe says “Thank you, tomorrow night we have Leon Spinks versus Martin(vin!) Hagler”. There are heckles for Gerry Cooney “Oh Larry Holmes!” says Joe. Over the gentle intro Joe jokes, “Yeah I know its rubbish what do you expect Tchaikovsky, Beethoven, Chopin, Mozart or the Beatles!” Joe then starts singing but some feedback problems affect the mood, an unexceptional performance. Somebody Got Murdered is very strong though with Joe unusually starting the song scratching out the rhythm before Mick plays the melody line.

Topper beats out a drum pattern and then the band crashes impressively into the beginning of Police and Thieves. Mid song Mick curiously says “Although this song mentions the bible it does not include..? …Important questions the majority… its not a con, it’s a reference to the bible”. There are no inspired rants from Joe and the song rather runs out of steam as a result. Clampdown as always now ends the main set and its not as impressive as usual; Mick cocks up his verse starting into the verse and then mumbles for 2 lines to fill the space. Joe makes do largely with screams rather than a rant and what he does adlib is unclear. Topper’s thundering drums hold it together well though and the band leave the stage with the audience cheering for more.

An edit restarts with the first encore and a tight, impassioned One More Time. The band usually kick up a gear on the encores and tonight is no exception. Perhaps the highlight tonight is a rare outing for Pressure Drop which is tight and focussed not as ragged as the 8th June performance. Joe bangs out the rhythm and Mick plays the melody line in an arrangement that is akin to the recorded version. It’s played at a fast pace with an extended ending.

Washington Bullets next and at first it appears there’s no El Salvador speaker as following Joe’s usual shouted cue, Mick carries on singing the next verse and then the speaker starts but it’s a short ‘speech’ and the song ends fairly abruptly. The El Salvadorian speaker had been getting some flak from parts of the audience and as Joe plays his intro part to Brand New Cadillac a clearly annoyed Mick says “So you didn’t like that bit but you’ll like this bit as its probably what you’re girl? did”. The band are wound up and it’s a blistering performance Joe on fire screaming out the lyrics and unusually it’s the last song they play in the encore but the audience are screaming for me.

After an edit the band return for a second encore starting with a fine if unexceptional Armagideon Time. The band appear unclear what to play next then eventually Mick starts the gentle intro to Jimmy Jazz, always a live highlight and tonight is no exception. Mick plays a different variation on his guitar part at the start and Topper’s drumming soon turns harder with Mick playing a great solo. Mick’s playing is terrific here and he finds time to add his increasingly common now effects sounds. It just lacks an inspired rant from Joe to be really exceptional. “Londons Burning” screams Joe and the band end a very fine concert with a fast, intense blast of 77 vintage punk with Joe ranting and screaming over the ending.

Did you go? What do you remember?

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Setlist

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26

London Calling Safe European Home The Leader Trian in Vain White Man in Ham Palais Radio Clash Spanish Bombs The Call Up Guns of Brixton Bankrobber Lightning Strikes Complete Control Ivan Meets GI joe Charlie Dont Surf Magnificent 7 Broadway Somebody Got Murdered Police and Thieves Clampdown One More Time Pressure Drop Washington Bullets Brand New Cadilac Armagideon Time Jimmy Jazz Londons Burning

The drama of the Bonds residency

1 2 3 4 5 6 7 8 9 10 11 12	Background Bonds Residency The Clash arriving in New York and the build up News Reports video and audio The Ticket Fiasco The remainder of the residency History of Bonds Longer history of Bonds Posters and adverts Badges, FSLN handouts, flyers, Clash press release ... Clash on Broadway Reels List of Support Acts

1. Background: The Clash at Bond's

Italy to New York
When The Clash landed at JFK airport in New York on the night of the 25th May 1981 they had no idea that their residency at a Broadway nightclub would create such a furore and nationwide media coverage that it became a pivotal event in their assault on America, helping to propel them into the major league Stateside. As Kosmo Vinyl has succinctly put it, “People who didn’t have straight trousers and short hair suddenly knew who we were. It got out - it was big!”. The Bonds concerts became one of the most enduring aspects of the Clash legend. ... more ...

2. Residency

The remainder of the press coverage once the bad had agreed to ensure all ticket holders got in by adding 8 more dates.

3. Arrival

A collection of articles covering the bands arrival into New York including previews of the week. Also includes the WNEW preview broacast with Meg Griffin.

4. Bonds News Reports
Audio and video reports covering the ticket fiasco. Fascinating watching / listening that captures those three days well. Includes notes.

5. Ticket Fiasco
Numerous articles and audio and video reports covering the ticket fiasco.

6. The remainder of the residency

7. History of Bonds

8. Longer history of Bonds plus old photos

9. Posters and adverts
Bits and pieces inclduying all adverts and posters.

10. Badges, FSLN handouts, flyers, Clash press releases ...

11. Clash on Broadway Reels
What was filmed and what happened to it?

12. List of Support Acts

13. Photos
Random phonts bundled here.

14. Comments
Comments for those who attended one of the gigs