Rehearsing and recording at Ear Studios

The Clash energised and unified by the success and Stateside impact of the Bonds residency hung about New York briefly then returned to London. America had again had a major impact on the band although with diverging outcomes for each Clash member. Being immersed in the emerging hip hop and rap culture in New York had not surprisingly pushed Mick’s enthusiasm for these new musical forms onto a whole higher level, so much so that the others called him “Wack Attack”. It was not though an especially affectionate nickname as Joe’s enthusiasm for hip hop and dub were cooling; his interests conversely in the roots of American music had grown. Paul too was more interested in pursuing his classic rockabilly interests. For Topper New York sadly meant the temptation of easy access to drugs and his heroin problem continued to worsen.

In August 81 Mick brought his New York generated influences to play when producing his groundbreaking mixes for the 12” release of Radio Clash. When in early September they came to rehearse, write new songs and record their follow up to Sandinista the band’s diverging musical tastes exacerbated growing disunity within the band. Record production was an associated problem; Mick of course was increasingly into the techniques of the modern studio whilst Joe was saying the best records in his collection were produced live in a basic studio. Moreover after the expense and accusations of indulgence recording Sandinista, Joe, Paul and Bernie wanted to record the follow up cheaply and quickly in the UK.

A compromise was agreed to use the Stones mobile recording studio set up in Ear Studios rehearsal room located in the Peoples Hall, Freston Road, in the shadow of the Westway. Freston Road had similarities with Vanilla and Pat Gilbert’s book details the intriguing background.

On 29^th August Guy Stevens overdosed on pills and on the 17th September The Clash recorded their Midnight To Stevens tribute.

Paris residency

New songs came quickly and the band took a break in September and October from recording to tour Europe or rather after the success of Bonds to play 3 further residencies in Paris, Vienna and London (plus the Radio Clash mini tour of UK). Bernie’s idea of playing residencies appealed to the band as they involved less travelling, had a bigger impact and gave them the chance to soak up the atmosphere of a city.

All 7 nights at the Mogador Theatre were sold out, indeed due to overselling   another 500 were crammed in above the 2000 nominal capacity. Paris had long been a “Clash city” and the sardine can feel inside, along with the impressive 3 tier setting created an atmosphere in the theatre that was sheer electricity. 

Press Coverage

NME coverage

The NME sent Paul Rambali and Pennie Smith to cover the event and Robin Banks (Crocker) produced a lengthy piece for Zig Zag which with his close connection to the band was highly positive. 

French music magazines Rock & Folk

The French music magazines Rock & Folk and Big had articles; the latter devoted a 6 page spread. (see links). Francois Ducroy’s article in Big magazine begins “The Magnificent Seven, the Last pogo in Paris, The last days of the Mogador, Radio Clash over Paris..”. An excellent article particularly if you can read French! (many thanks Seb/Bazarboy).

Francois Ducray

Francois Ducray; “I have seen 5 of the September concerts and I was not bored for an instant, it is never routine, one night is not like another”. He describes the Press Conference to maximise impact (as at Bonds) on Tuesday 22^nd,  “2 hours of questions, their responses caustic and measured”

The first concert was on Wednesday the 23^rd. Robin Banks gives an account, and lists the songs played. He thought the first night’s performance to be an excellent one although the band thought otherwise. The band were now playing over 2 hours on stage and debuted a large number of new songs. They had a new stage set too which Robin Banks described in detail: 

“On either side of stage is a single upright 12ft. arm complete with flashing lights set along it. As the band reach the arena sirens wail and the arms descend, almost touching at stage centre. Then they rise and the Clash are playing… Broadway” which takes the audience completely by surprise. Indeed the band were now turning normal gig practice on its head starting with their most low key song and ending their set with London Calling, their usual opener! Robin reported   The Clash’s performances produced a riotous Parisian response and 3 encores for each of the 7 nights. Robin wrote “To witness The Clash in top gear is an almost orgasmic experience, exhilarating and devastating at the same time..they are unrivalled and unbeatable.”

Doors opened early and there were no late nights (unlike Bonds) to allow fans to catch the last metro. Paul needed pain killers for his shoulder - flesh rubbed raw by the heavy bass and long sets. Long Time Jerk was played according to Crocker and Rebel Waltz according to the Big article but there are sadly no recordings circulating of these. There was no soundcheck because of fears of the fans outside forcing through the glass doors outside. David Bailey reportedly held a photo session with the band, further evidence of their growing profile. 

Paul Rambali’s piece in the NME was far less complimentary, in keeping with his paper’s stance towards The Clash at the time. His piece included lengthy interviews. Joe annoyed at The Clash backlash said” If they’re teaching the readers to hate us, then I’d like to ask the NME who they’re teaching the readers to trust? Which groups? Which ideas? I’m looking hard and I can’t see anybody”

Rambali comments very little on the actual concert other than to say; “The Clash’s music has lost a lot of its abrasive power over the years, the short, sharp, volatile statement has been replaced by the long meandering, and convoluted... The Clash should not be afraid to do what they do best, orthodox as it maybe”. A view held by many including Clash fans but one that failed to recognise that the band had to continually expand their musical horizons or stagnate and split. 

Rambali teases Mick “Why are you such a superstar?” but Mick defends himself adding “There’s nothing wrong with having respect for the stage because you’re also out there entertaining” 

In a rare interview Bernie talked of the June/July riots in UK cities and confirms the band’s changing political perspective; “The Clash are in interested in politics rather than revolution. Revolution sets a country back a 100 years. Revolution is very, very dangerous. I don’t think we ever were revolutionary. I think we were interested in the politics of the situation. It’s about youth and where they get their information. That’s what we’re about.” Marcus Gray criticises the band for not explaining their move away from their revolutionary 76/77 rhetoric, which hardly seems fair as the band’ s maturing political outlook was explained at length in interviews and not least in their songs!

There were no live photos chosen by the NME to illustrate their piece choosing to use Pennie’s shots of the band sitting at a café, and outside a hotel (with Bernie and Mikey Dread who turned up for the last night encores). There are though a large number of photos from the Mogador from French magazines and the tour programme for Japan 82.

The only Mogador film footage sadly though is a clip from French TV with an interview by Marc Zemati (a friend of the band) and a great short live clip of Safe European Home. 

Futura 2000

During the Mogador residency (and the remaining 81 gigs) Futura 2000 would pause from painting the stage backdrop during The Clash’s set and take the microphone to rap over his own song about graffiti which he would later record with The Clash and release as the “Escapades of Futura 2000”. 

Futura 2000, real name Lenny is one of the most famous graffiti artists. He was from Brooklyn and was among the crowd (also including Gerb, Kiley Jenkins, Josh Cheuse) that befriended the Clash in NYC back in the day and introduced them to Fab Five Freddie and the local hip-hop world.

He started to paint illegally on New York's subway in the early seventies. More recently, he is a respected designer/gallery artist. One of the most unique features about Futura's work was his abstract approach to his style of graffiti. The primary focus of the average subway artist was lettering. Futura displayed a much broader focus, he mastered the ability to create interstellar scenes that set him apart from his peers.

Futura produced the sleeve for the Radio Clash 7" single and handwriting the sleeve notes and lyrics sheet for Combat Rock. Years later James Lavelle resurrected his career by getting him, to produce the artwork for several releases on Mo' Wax records. Recently much of Futura's artwork is channeled towards the production of highly collectible toys, and during the 1990's he was heavily involved with the clothing companies Subware, Phillie Blunt, and GFS to name a few. In a 2000 interview when asked what were the main turning points of your career in the last 30 years he said “Probably in the early eighties, hooking up with The Clash, I think that was a mayor thing for my career as far as getting recognition. I worked with this very high profiled group and because they were very popular, people where accepting me as well, I was very fortunate to meet them and I think that helped a lot.” 

Rachid Taha

THE Algerian singer-songwriter Rachid Taha, 46, likes to tell the story about the night he met the Clash. In 1981, when he was the leader of Carte de Séjour ("Residence Permit"), a pioneering band from Lyon, France, that combined Algerian rai with funk and punk rock, the Clash played at the Théâtre Mogador in Paris. Mr. Taha, a huge fan, bumped into the band on the street outside the theater and handed them a copy of his group's demo. “I felt that they were interested,” remembers Rachid “but when they did not get in touch afterwards I just thought that’s life”. “Having said that when I heard ‘Rock The Casbah’ later that year, I thought that maybe something really had happened after all,” He adds with a wry mischievous smile.

“I don’t know about the others, but I particularly liked Joe Strummer’s sincerity, his humour, his awkwardness” Rachid reflects “He had nothing to do with that punk cynicism.”

Antennae 2TV with Freddy Hauser

Safe European Home & Interview

Tickets