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London Calling |
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There are several sights that provide setlists but most mirror www.blackmarketclash.co.uk. They are worth checking.
from Setlist FM (cannot be relied on)
from Songkick (cannot be relied on)
... both have lists of people who say they went
& from the newer Concert Database
Also useful: Ultimate Music datbase, All Music, Clash books at DISCOGS
To read all the news reports from Bonds including video and audio chronologically in one thread.
1. Background
3. The Clash arriving in New York
and the build up
4. News Reports video and audio
6. The remainder of the residency
7. History of Bonds
longer history of Bonds & images
9. Badges, FSLN hadouts, flyers, Clash
press release ...
10. Photos various - PDF 48mb
If you know of any articles or references for this particular gig, anything that is missing, please do let us know.
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 ...
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.
Ticket Fiasco
Numerous articles and audio and video reports covering the ticket fiasco.
Bonds News Reports
Audio and video reports covering the ticket fiasco. Fascinating watching / listening that captures those three days well. Includes notes.
Residency
The remainder of the press coverage once the bad had agreed to ensure all ticket holders got in by adding 8 more dates.
Photos - PDF 42mb
All randon phonts bundled here.
Adverts, posters and sundry
Bits and pieces inclduying all adverts and posters.
Comments
Comments for those who attended one of the gigs
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
WNEW Bonds week
Prior to The Clash's arrival WNEW FM ran a Bonds Week with Meg Griffin. It includes an intro to the Clash at Bonds week with a montage of old interviews and Clash tracks
Listen again here:
Bonds News Reports
28 May - 30 May 81 - updated 5 Jan 2009When the probelms started on the 29th at the venue the news media decsended and there s both audio and video circulating that captures those few hectic days.Audio: 30 mins of TV and Radio interviews, news and commentary.
Video: The Clash - News Reports about Bond's Casino Shows - June 1981
Video - Clash on Broadway Reels -
"all the original reels have been found and are now with Sony. UPDATE1 The footage the footage that was found is very expensive to transfer. Don hasn't yet ID'd the film boxes (03/2015). UPDATE2 On the Facebook page dedicated to the summer 1981 Nyc residence, from one Kevin Bud Jones that was hired by Don Letts to help shout ing The Clash on Broadway docufilm:"We shot one complete show with multiple cameras and a 24 track mobile recorder. We also shot most of every show with one camera and in house 8 track recording. The band wore the same gear every night and Topper was such a consistent drummer - and the band well rehearsed - that we were able to build edits from different nights with no trouble at all." (03/2015)"There are around 36 tapes in all, each of which would cost at least £500 per tape to transfer (the prohibitive cost is why the filmakers didn't have this material transferred at the time) - it's on a rare early video format called EIAJ. Sam
Facebook The same guy who posted that also wrote this in the comments (bold emphasis mine):
"We shot one complete show with multiple cameras and a 24 track mobile recorder. We also shot most of every show with one camera and in house 8 track recording. The band wore the same gear every night and Topper was such a consistent drummer - and the band well rehearsed - that we were able to build edits from different nights with no trouble at all." "Sadly - we never shot the opening acts. We started the gig with the intention of doing a six song DVD EP - not a full scale documentary. Shooting expanded as the story expanded and the shows stretched on."
"We were not making a concert movie per se - and my part in the post production ended when the material left the US after doing the Combat Rock video which John shot in Texas." All of this makes me wonder where all that footage is and why they haven't done a long form concert video or if they will at some point. I mean, a whole show in multi-camera, 24 track?! I can't imagine that kind of thing just inadvertently gets lost.
I'm sure there is way more about this that is known that I am not aware of. I think I've read that lots of footage has been lost but I don't know any details about that. Concert movies have been constructed from way less (The Doors Hollywood Bowl for one, I expect there are more).Found in London garage 2006 - handed to SonyThere are around 36 tapes in all, each of which would cost at least £500 per tape to transfer (the prohibitive cost is why we didn't have this material transferred at the time) - it's on a rare early video format called EIAJ.
From - I saw the Clash at Bonds play at Bonds - Facebook page
My partner John Hazard and I were fortunate enough to be hired by Don Letts and The Clash to produce and shoot the documentary of Bonds and beyond that is the Clash on Broadway film featured at the end of Westway to the World. What started out as a one week shoot to get six songs live in the can became a year of our lives. The video for This Is Radio Clash was a lift from the 10 minute trailer for the unfinished film that we shot on 16mm and went all the way to a 35mm blowup to show potential distributors. Needless to say - the project was never completed as the band disassembled after Combat Rock. Clash on Broadway is the rough cut we had finished by the time to project was wrapped and went back to the UK.
We shot one complete show with multiple cameras and a 24 track mobile recorder. We also shot most of every show with one camera and in house 8 track recording. The band wore the same gear every night and Topper was such a consistent drummer - and the band well rehearsed - that we were able to build edits from different nights with no trouble at all.Sadly - we never shot the opening acts. We started the gig with the intention of doing a six song DVD EP - not a full scale documentary. Shooting expanded as the story expanded and the shows stretched on.Q. How come we've never seen the release of the entire show?
We were not making a concert movie per se - and my part in the post production ended when the material left the US after doing the Combat Rock video which John shot in Texas.
For all video, it is presumed that significant footage comes from the first night but it is also highly likely it came from other nights.
Clash On Broadway - 19:50
The Clash / Sound System box setIt is not clear which of these comes from which night?London Calling (first night?)
This Is Radio Clash (Tom Snyder show)
The Magnificent Seven (Tom Snyder show)
Guns Of Brixton (first night?)
Safe European Home (first night?)
A good listing of the contents of the The Clash's Sound System box set can be found here.
WNEW Bonds week
Prior to The Clash's arrival, WNEW FM ran a Bonds Week with Meg Griffin. It includes an intro to the Clash at Bonds week with a montage of old interviews and Clash tracks
Listen again here:
Bonds News Reports - 28 May - 30 May 81 - updated 5 Jan 2009
When the problems started on the 29th at the venue the news media decsended and there s both audio and video circulating that captures those few hectic days.Audio: 30 mins of TV and Radio interviews, news and commentary.
For full listing go here
Video: The Clash - News Reports about Bond's Casino Shows - June 1981
Video - Clash on Broadway Reels -
For a full details on video from the opening shows go to the 28th
For information on the Clash on Broadway reels go here
Private Super8mm film footage of the rucus outside Bonds
Someone had a video camera aand has more and better footage from outside.
Press Conference - "See out"
Would like the full press conference.
Video from Bonds
1. Essential Clash DVD
cut down version of CoB from Westway but with unseeen angles and clips. Includes an edited London Calling [audio is unmixed pro recording from 9th].
2. Westway to the World BONUS footage DVD
Includes nearly full tracks of - London Calling [Trick of Treat audio] - Guns of Brixton [dubbed partly] Safe European Home [dubbed with studio single] - Charlie Don't Surf [original sound but from mixing desk] - Radio Clash [original sound but from mixing desk]. Also includes a mash up of a lot of footage from New York and outside Bonds such as the riot.
3. video - press conference, backstage, 16 Tons play on, London Calling nearly full [probably the same length as Westway? but the sound plays on to a montage of NYC/Clash pictures]. The sound is remixed from [Trick or Treat bootleg] radio broadcast from the 9th June as Westway. 5.38min
4. MTV Rockumentary is same as Westway/Clash on TV/Essential DVD but with only very edited clips of the press conference and London Calling. Nothing new except a couple of comments form Mick and Paul.
Tom Snyder show NTV
The complete Clash appearance circulates on Clash On TV Vol.1 in very good quality (apart from some ghosting) from a TV rebroadcast (better than the YouTube broadcast below). For many years Clash fans had made do with very poor quality video copies of this important Clash footage.
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Facebook Page - for Clash Collectors to share unusual & interesting items like..Vinyl. Badges, Posters, etc anything by the Clash. Search Clash City Collectors & enter search in search box. Place, venue, etc
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Anything to do with The Clash. Photos inspired by lyrics, song titles, music, artwork, members, attitude, rhetoric,haunts,locations etc, of the greatest and coolest rock 'n' roll band ever.Tributes to Joe especially wanted. Pictures of graffitti, murals, music collections, memorabilia all welcome. No limit to postings. Don't wait to be invited, just join and upload.
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I saw The Clash at Bonds - excellent
Facebook page - The Clash played a series of 17 concerts at Bond's Casino in New York City in May and June of 1981 in support of their album Sandinista!. Due to their wide publicity, the concerts became an important moment in the history of the Clash. Search I Saw The Clash at Bonds & enter search in red box. Place, venue, etc
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Facebook page - The only Clash page that is totally dedicated to the last gang in town. Search Loving The Clash & enter search in the search box. Place, venue, etc
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Images on the offical Clash site. site:http://www.theclash.com/
Bonds Residency - Supported by the Bush Tetras
Three weeks & 17 gigs that shook up New York and America.
last updated 19 Feb 2002
updated Sept 2020
Audio 1 - aud. master -
Sound 3.5 - time 1hr 51mins - DAT-master - tracks 28
Lightning Strikes
The master audience recording in circulation captures the whole 28-song concert. Amazingly the same taper apparently recorded all 17 Bonds shows, providing the only complete record of any of The Clash’s tours or residencies.
The audience recordings therefore are all of similar sound quality as they were recorded on the same equipment but there are some variations presumably dependent on where the taper was standing on each night.
Tonight’s is one of the best of the audience recordings capturing considerable detail and clarity. The deficiencies of the tape equipment and the position of the taper however, result in a lack of range and depth. Vocals and instrumentation (bass is better defined although still low in the mix) come through well but all suffer from distance; a lack of “in your face” immediacy.
There is a view amongst some Clash fans that the band were not at their best during the Bonds residency but a listen to the evidence of this performance surely would dispel that view. On the night of the 1st June (their 4th Bonds show) The Clash hit top form delivering certainly one of their best performances at Bond’s and one to rival the best of the European tour. A very enthusiastic audience clearly helped, the band rewarding them with a rare 3rd encore.
Bush Tetras image courtsey of
'I saw the Clash at Bonds' - Facebook page
Popular Facebook group that recounts memories for the Bonds residency. Well worth a read.
The recording begins as Topper counts in London Calling. The sound is a little flatter at the start but soon improves. Joe is pumped up and Mick is on top form too tonight, his solo clear in the mix. Following a “Good evening, welcome” from Joe, Safe European Home thunders in, followed by The Leader.
Joe says “Thank you and good evening. We may have gone through a few problems to get here, now we are here, Mr Jones…” and then Mick plays the intro to Somebody Got Murdered, the first exceptional performance tonight. The band play with real passion and power, the recording capturing enough of the detail in the instrumentation to make it a very enjoyable listen.
Joe says “How many people here tonight 1725, you make [points at the audience] 28, 29, 30, 31, 32 shussssh!” Mick then screams “1-2 a 1-2-3-4” and the band slam into an excellent White Man In Hammersmith Palais with Joe adlibbing over Mick’s solo “what you ask so shall you see” and also over the ending but his words are not clear. The Boston Rock article dates this stage announcement to the 31st May concert but other reviews suggest this is probably from the 1st June.
Time next for Joe and Paul to swop guitars for Guns Of Brixton, another fine performance. “OK got something new here to try out on you This is Radio Clash” is followed by The Call Up a good if not great performance of this underrated live Clash classic. “Alright lets have some control” is the cue for Topper to beat out the bass drum intro to Complete Control, played ‘straight’ tonight without the now usual building crescendo intro as per the FHTE recording. A fine Junco Partner follows with some adlibs from Joe. “Let the lightning strike” shouts Joe and Mick’s playing on Lightning Strikes is inventive and very effective, Joe’s really up for it tonight, adlibbing over the improvised extended ending.
The second CD restarts straight into Ivan Meets GI Joe. Next Mick plays a chopper sound on his guitar as a very fine Charlie Don’t Surf begins. Topper beats out a rhythm and Mick plays some great melodic lines over the top as Paul’s bass line plays the melody. There is no adlibbed intro from Joe, but when Mick cuts loose with a solo Joe responds with an adlibbed verse. Joe introduces Bankrobber intriguingly with “Here’s a song that we wrote in the black flag roach motel”. Joe is enjoying himself, the band in top form.
“Well I say you and I say twice, don’t you ever stop” as the band crash into a The Magnificent Seven, a shorter version than some of the earlier Bonds 7 minute plus versions but just as intense; Joe rages over the sonic assault whipped up by the band. Mick and the band improvise around the now usual extended intro to Wrong Em Boyo, This recording is very enjoyable because the performance is so good and there is enough detail and clarity in the audience recording to make it so.
Mick talks to the audience during an extended Train In Vain. The audience tonight are very lively and appreciative. Joe says, “Thank you - I think we need the encouragement”. Mick then screams out “1-2-3-4” and band now on fire and burn through an intense Career Opportunities. It is just as intense as any 1977 performance; Topper’s drumming terrific always tonight is really tremendous here. The main set as always now ends with a super-tight and effective Clampdown with Mick’s playing a delight.
The first encore begins after an almost unnoticeable edit with One More Time.
A hard as nails performance featuring Mick’s effects and some great drumming mid-song from Topper. There is no evidence here of his supposedly then worsening drug problems. It’s straight in to Brand New Cadillac, which tears along before the pace, and mood changes with Washington Bullets. Joe shouts “El Salvador” repeatedly as Mick improvises around the melody drowning out largely the now regular mid-song announcements of the representative of the Democratic Revolutionary Front of El Salvador. Energy levels peak again on a passionate Janie Jones. The first encore would normally end here but tonight the band revisit Street Parade, Joe enjoying himself but having not played the song for a while the performance is a bit rusty; Joe wanting to play it straight but Mick wanting to stretch out and improvise.
An edit restarts with the second encore and a strong performance of Armagideon Time with a lengthy instrumental break before Joe comes back in. Jimmy Jazz returns for its first Bonds show, there’s little adlibbing from Joe but Mick’s plays with a different guitar sound to the 1980 shows. The encore ends in classic style with an intense London’s Burning or rather New York’s Burning with Joe ranting and screaming over the ending.
Due to a combination of a very enthusiastic audience and the band clearly enjoying themselves, The Clash return to play a rare third encore of Police and Thieves. Its played straight and true, full of energy and passion with little improvisation. Mick shares the vocals, “drum and bass” screams Joe as Mick eventually stops playing and the music drops to drum and bass. There’s plenty of great extended guitar playing from Mick but no adlibbed rant from Joe.
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I was lucky enough to see the Clash play twice--a great show at NYC's Palladium and one of their famous shows at Bonds. The latter show was a little lackluster, finally catching fire around halfway in--kicked off by a rousing version of Complete Control as I recall. One moment I remember clearly: a crew member put a small TV onstage so Mick Jones could watch the band perform on the Letterman show, pretaped earlier in the day. Joe Strummer was obviously annoyed at this, finally kicking the TV in. - Marlowe
As for greatest live bands well i saw the clash in nyc when they sold too many tickets for bonds in Times Square and were obliged to play something like 2 weeks straight to honour all the tickets sold. This was the sandinista tour but the show covered every period and was quite simplyamazing. Strummer got visibly pissed off when the crowd did not sing along with the obvious anthems but then you can’t expect perfection from a rock audience.Support that night was funkapolitain and the slits which blew my mind as i had no idea they were on the bill. Pearl harbour was the dj between sets.
I've been a Clash fan for a very long time. I had tickets for all 8 of the original Bonds Performances. I was right up front opening night when the club was overpacked by double. Quite a few people passed out and had to lifted and surfed to the stage area to be removed. Bouncers were passing out jugs of water to the front. I LOVE Grandmaster Flash but they were AWFUL. As a matter of fact they were beyond awful. It wasn't racism, it was a matter of an overpacked house and a group that wasn't making music, it was barely noise. What would you call listening to a kick drum for 10 - 15 minutes? Leaving, I literally couldn't stand up straight, there were fire marshalls at every door. SinceI had tickets for the original 8 nights bought at Bonds, my ticket was not valid the following evening. But, I saw 8 shows, and they were all fantastic. I saw them every tour since then, and they remain one of the greatest acts in R&R. One night I was dying of thirst and Mick kept sipping from a large soda cup. So I kept looking at him and motioning for a drink (security would pass water to the crowd). Mick points to his cup and shakes his head no, but finally he gave in and it was RUM and a tiny drop of coke for flavor. I took a sip, passed it on and within a few seconds people were fighting over the cup.
There were a ton of opening acts at the Bonds shows, and none were memorable.
Snowman “I had tickets for all 8 of the original Bonds Performances. I was right up front opening night when the club was overpacked by double. Quite a few people passed out and had to lifted and surfed to the stage area to be removed. Bouncers were passing out jugs of water to the front. It was then that the rappers went into a tirade of "The Clash asked us to be here. They wanted us to perform". Though I love GF&TF5 they couldn't be any worse live. To be squeezed into a sardine can, and hear a pounding bass drum and nothing else was more than anyone should bear. I LOVE Grandmaster Flash, and they were AWFUL. As a matter of fact they were beyond awful. It wasn't racism, it was a matter of an over packed house and a group that wasn't making music, it was barely noise. What would you call listening to a kick drum for 10 - 15 minutes? I saw them a few years later on Long Island where the levels were decent and you could understand what they rapped. It was great. Leaving, I literally couldn't stand up straight; there were fire marshals at every door. Since I had tickets for the original 8 nights bought at Bonds, my ticket was not valid the following evening. But, I saw 8 shows, and they were all fantastic.”
David S “Grandmaster Flash did open for the boys at Bonds. I was there and thought it was really closed-minded and small the way the crowd reacted. They wouldn't even give basic courtesy. Grandmaster Flash was right; the Clash did ask him to play, and frankly the reaction of a white crowd to an inner city act like that had to smack of racism.
The New York Nobody Sings- Clash at Bond's reosted from my blog...
Remember When - The Clash Photos at Bonds Casino – 80s Retro Punk Rock So a few years later, when we got to do the printing for the official Clash at the Bonds Casino gig in NY City, we where ecstatic. We printed the shirts, drove them to NY City, sold them in the streets...
They Shoot Actors, Don't They? Bond's Casino
The Clash at Bonds Casino, Times Square, NYC gigs 1-3 of 17.
IT'S ALL THE STREETS YOU CROSSED NOT SO LONG AGO -The Bow-Ties that Bond BOND INTERNATIONAL CASINO--1530 Broadway, on the east side of Broadway between 44th and 45th Streets. (Often referred to as Bond's.) A short-lived discotheque most famous for hosting the "Clash on Broadway" residency in 1981,
Personal memories
RETRO MEMORIES The Clash at Bonds Casino NYC, 1981 The Clash at Bonds Casino, Times Square, NYC gigs 1-3 of 17.
where you there?
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Following their appearance at the Palladium in 1980 The Clash had refused to play in New York unless they could play in a venue they thought suitable, i.e. an unseated dance hall. In February, Bernie and Kosmo had come to New York to seek out a suitable venue and agreed on Bonds which seemed ideal; it could hold 4000 with minimal discomfort (fire exits would prove the problem) but it was comparatively intimate and had character (art deco interior. History Of Bonds - includes write up and old photos It was a former men’s department store with a lino floor and beams and a makeshift stage. Local promoters could not understand why The Clash did not play a couple of nights at Madison Square Garden (16,000 capacity) like everyone else. Indeed Chris Salewicz was asked to write a piece for Soho News “to find the story behind the story!” “The doors opened at 8pm, we went up a carpeted spiral staircase surrounded by barbed wire and Mooseheads. We went into a large lobby and bar, with Clash concession stands. Through a large bank of double doors we located the dance floor, strobing lights - stunning glow in the dark things, half inflated silver spacemen hanging through trap doors in the ceiling. The dance floor itself was huge with recessed balconies at 2 sides to handle the large number of techies apparently required to keep all the lights flashing and the mikes feeding back. The facilities at Bonds were dance or drop! There was absolutely no seating anywhere.” In the photo below Bonds is the low building on the right.
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