support bands "Theatre of Hate' and local band 'The Room'

updated 28 Dec 2008 - added flyer and info + support
updated 12 Feb 2012 - addded review from the ‘End’ fanzine
updated June 2021 added pass

Audio 1

Sound 3.5 - time 1hrs 58mins - 1st gen? - tracks 31

Koka Kola

Audio 3

Sound 2.5 - time 1hrs 58mins - 1st gen? - tracks 31

Koka Kola

Sound quality

The only recording in circulation is from a low generation audience tape. Unfortunately due to the age and quality of the source tape there are a number of dropouts, wear and tape twisting that affect the sound so that the quality fluctuates from good clarity to a flatter sound throughout the tape.

At its best the sound is clear with some stereo separation, all the instrumentation comes through (although bass needs boosting) and vocals are not noticeably distant. The top end is a little blown out, there’s some hiss and flatness and the last 8 songs from midway through Janie Jones are significantly flatter with the sound mainly in the right channel.  

Somebody Got Murdered features twice, the first losing the end of the song, the second complete. Janie Jones similarly is repeated twice but here the first incomplete version has better sound than the complete one.   

An upgrade to the master tape would be very welcome but even in it’s circulating form it capture’s enough of the quality of the performance to make this an important and enjoyable bootleg. 

Joe despite his sore throat was in terrific form

The Clash had not played in Liverpool since playing Eric’s in Liverpool back in 1978 and were delighted to be back as Joe explained to the audience. Liverpool was very much a “Clash city”, the Eric’s gigs being especially memorable to the band and fans alike. Therefore when the band hit the stage at the Royal Court they were keen to repay the Liverpool faithful, and as a decent audience tape documents The Clash certainly delivered an excellent fired-up performance (maybe the best of the mini-tour).

Joe despite his sore throat was in terrific form and the band played 31 songs ending appropriately with a manic and increasingly rare White Riot.  A bootleg well worth seeking out  for the performance, and the completeness and decent sound quality of the recording.

Flyer

Please find enclosed flyer for the above gig. This gig not part of the tour and was a late announcement by the band, so the Royal Court printed these flyers to hand round record shops, Probe and other venues.

I purchased my ticket from the box office, to be informed that the support band would be "Theatre of Hate' and local band 'The Room' Great gig only wish I could find my ticket stub. All the best. Roy Woosey

Royal Court Theatre, Liverpool

The Royal Court Theatre is an art deco Grade II listed theatre at 1 Roe Street, Liverpool built in 1938 after a fire completely destroyed the earlier building. Originally a popular home to variety shows in 1980 two former Liverpool taxi drivers took the Royal Court in a new direction, moving successfully away from traditional plays and instead transferring the focus to rock and pop concerts.

The past decade has seen a return to the varied programme the theatre was so proud of in its early years. A grand ornate theatre, typical of the larger venues played on this tour, on 3 levels; Stalls, Grand Circle and Balcony with a sitting capacity of at least 1,250. With the seating taken out of the stalls the capacity on this night was probably nearer 2000.

“1-2, 1-2-3-4” and the band career into White Riot

The tape starts with hum from the dubbing from presumably the master tape and some audience sound then it’s into Broadway. A strong performance; problems with tape wear clear near the end and Joe although hoarse from the cold he’s nursing sings his lyrics with real conviction. The stage lights flash on and Mick’s power chords ring out and the band kick into One More Time. Joe pushes himself and the band to deliver a fired up, very strong performance. The sound captures much of the excitement of the performance, so if you ignore the sound limitations it’s a very enjoyable listen.

“Welcome to The Clash at the Royal Court Theatre, and it’s been 3 years since we played at Eric’s so we’re glad to be back here, and anyway welcome to the show, hope you can hear, this is a new song” Know Your Rights keeps getting better and better with each performance, still ragged and unfinished but hard & fierce here. An edit  goes into start of Guns of Brixton with some great jarring lead guitar. There are three short dropouts on a fine Train In Vain. “Alright, Everybody get on a train to Hammersmith, mind the doors” The audience sing-along to White Man in Hammersmith Palais and Joe adlibs impressively over the ending of a passionate performance.

“Ring Ring” orders Joe and its straight into Magnificent Seven. The mid song   “guitarville” bridge is not as impressive as usual here, and there are several more dropouts. “OK the following is Topper Headon on the mic” is Joe’s intro to Ivan Meets GI Joe. After what sounds strangely like an alpine horn! Mick bangs out the chords to Clash City Rockers and the audience cheer their approval. It’s played really fast again, no varispeed needed here! Excellent. The energy levels continue to peak next on Koka Kola then there’s a pause for breath. Amidst shouts for White Riot Joe says, good humouredly as an intro to Junco Partner, “Pardner.. not going to go down the road yet lets have an escape list, there is no escape” The band stretch out and Joe’s clearly enjoying himself. 

An edit misses the first third of Charlie Don't Surf and there’s a further short drop out. Two versions of a strong Somebody Got Murdered follow the second is complete both feature an even more teased out crescendo intro than usual from Mick. London Calling is typical of the passionate performances tonight; charged and fully committed. Clampdown has a great extended improvised ending, a song that never disappoints live. A fine if unexceptional This Is Radio Clash ends the main set and the first CDR.
 
The second CDR contains the encores which are almost as long as the main set! The Royal Court audience are heard at length cheering, chanting and clapping  for more and when the band finally return Joe jokes “Can’t you shout louder than that. I got my cough medicine!” Paul’s harmonica and Topper’s bass drum then begin Ghetto Defendant. Joe adds a repeated “1981” after the chorus and then later reveals he’s been listening to early Dylan again repeating  “Who killed Davey Moore, why and what’s the reason for”. 

Mick then steps up and introduces his Stay Free with “Thank you. This is about getting too sentimental (about?) my mate from Liverpool, hope I remember the words” The audience roar their approval at the end which further encourages a non PC joke and jibe at Mick with “This is Police and Thieves for the gay boy Davey Moore!”  Joe whips it up and Mick’s solo rings out clearly around the theatre. Each song slams into the next and Safe European Home powers in next. “SSSH! Shush!” Shouts Joe mid song and the band oblige dropping it down to drum and bass whilst he adlibs at length but his words are only partly clear. An excellent hard, guitar heavy Armagideon Time follows with Joe on great form and great inventive guitar fills from Mick.
 
An edit next may conceal the end of the first encore because otherwise the first encore would have been 13 songs long! The recording restarts just after the start of Complete Control, the sound quality dipping a little but improves next on a scorching Brand New Cadillac. Straight into a fierce Janie Jones but after an edit halfway through the sound thereon dips significantly, making the rest of the encore less enjoyable, although the performance certainly does not dip. 

With Inoculated City Joe’s vocals and lyrics toughen up Mick’s rather lightweight tune. The band then slam into Career Opportunities then play an inventive Bankrobber which allows the band to stretch out as does Street Parade. Topper’s thundering drums herald I Fought The Law and the end of an excellent encore.

The recording continues with the audience cheering for more. Joe chats to the audience and then screams London's Burning. The audience now whipped up no doubt went crazy when Topper thrashed out an unusually long drum solo intro before eventually Joe shouts “1-2, 1-2-3-4” and the band career into White Riot. Topper’s drums thunder away whilst what sounds like mayhem happens in front of him. An appropriate end to a memorable event.

The End Fanzine Review of the gig

Did you go? What do you remember?

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Photos

Joe Strummer at the Royal Court, Liverpool,1981.
Visit my Francesco Mellina Photography page on Facebook

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 27 28 29 30 31

Broadway One More Time Know Your Rights The Guns Of Brixton Train In Vain White Man In Ham Palais The Magnificent Seven Ivan Meets GI Joe Clash City Rockers Koka Kola Junco Partner Charlie Don't Surf Somebody Got Murdered London Calling Clampdown This Is Radio Clash Ghetto Defendent Stay Free Police and Thieves Safe European Home Armagideon Time Complete Control Brand New Cadillac Janie Jones Inoculated City Career Opportunities Bankrobber The Street Parade I Fought the Law London's Burning White Riot