Bonds Residency, Support The Treacherous Three
Three weeks & 17 gigs that shook New York and America.
page updated - Sept 2020
Audio 1 -
Sound 3.5 - time 1hr 49mins - DAT master - tracks 26
distant clear
Charlie Don't Surf
The complete audience DAT master recording in circulation is very similar to all the previous ones at Bonds, same taper, same sound. Thus there is good clarity, and detail but distance from the taper to the stage results in a lack of “in your face” immediacy (particularly with the vocals) which reduces the enjoyability of the sound.
Still it is fantastic that good recordings exist of all the Bonds shows and if you can ignore their limitations these are very valuable and enjoyable records of The Clash during one of the most significant times in their history.
Video -
Rumour of a video recording from the 3rd. The track list matches the 3rd.
This past Saturday, on the streets of New York City, I purchased a single cam shot, full length video of one of The Clash's performances at Bond's International Casino. It doesn't indicate the date ( Joe asks the crowd if anyone owns an Aerosmith record near the beginning) I don't know how to digitize it off the dvd, but would be happy to post you a copy, if you like. One question, do you know which show this might be a video of? Thank You, Johnny Spice allmagazinejohnnyspice[a]gmail.com
The night after this sixth Bonds gig Joe said “It was like a morgue in here last night” but from the evidence of the audience recording of the concert the audience were far from passive and The Clash delivered another strong and committed performance.
Joe’s comment does though further demonstrate the qualities that stand The Clash apart from almost all other bands. For The Clash it was rarely acceptable to deliver just good professional concerts. In order to conjure up the illusive alchemy required to produce those nights when as Joe put it the music “burned” The Clash would berate, cajole and harangue both themselves and the their audiences. Perhaps being aware that after 6 nights at the same venue there was a danger of their performances turning stale, the band particularly Joe tries repeatedly tonight to whip up an already enthusiastic audience in order to inspire and push themselves further.
That largely they fail to reach their ultra-high standards is clearly from the recording not for want of effort and at times particularly on the first encore they do deliver close to their very best. If you are reading this you know that The Clash even when not at their very best were a hugely enjoyable and stunning live band and this recording certainly bears this out.
'I saw the Clash at Bonds' - Facebook page
Popular Facebook group that recounts memories for the Bonds residency. Well worth a read.
The recording starts as London Calling is counted in and the set is very similar to the night before except for the return of Spanish Bombs. Joe is in great form again tonight shouting encouragement during Safe European Home to the band, “swing it brothers” and to the audience too, and adds an adlibbed joke about “we went on standby!” A powerful performance which ends appropriately with one member of the audience next to the taper shouting in wonder ”Ooh, ooh The Clash!”
“Who you gonna vote for?” asks Joe before The Leader, and Joe always trying tonight to whip up the audience and the band shouts “actung, actung” at the end before Mick obliges with the intro to a fine Somebody Got Murdered.
Next its audience participation time with what sounds a very lively and enthusiastic audience, Joe says; “Now we’ve just got time for a bit of a quiz, shout yeah if you want an album by Aerosmith? [boos largely] Come on come on, out of the cupboard! Just checking numbers” Mick plays some appropriate metal guitar lick then Joe adds “So we’re gonna do Toys in the Attic, but can’t play that one”. Mick then screams “1-2, 1-2-3-4” and then the band tear into White Man In Hammersmith Palais. Joe adlibs over the ending, including a cryptic “What’s the matter baby, please don’t cry”
Paul’s Guns Of Brixton follows next and then there is an edit during This Is Radio Clash that loses a few seconds only. Joe is the human beat box at the start of The Call Up adlibbing mid-song but despite the obvious efforts of the band it again at Bonds does not fully succeed.
By contrast Complete Control at Bonds is reinvigorated into an epic with the slow teased out intro building and building, the band clearly are really into playing the song again and are accentuating all the drama in the song. It’s a song that that has evolved (like the band) since its punk days and although it’s not necessarily better in 81 it’s certainly different. An edit at the end of the song restarts with Joe saying to the audience almost as a challenge after such a performance “If you’ve anything to say, say it now”
A fine if unexceptional Junco Partner is followed by an extended improvised Lightning Strikes, with Joe again in fine form adlibbing lyrics. An interesting performance if a little ramshackle, and there are some tape dropouts.
Ivan Meets GI Joe begins the second CDR. Charlie Don't Surf is again very strong and is followed by Bankrobber with adlibs near the end. Each song follows quickly after the other the band working to maintain and build momentum.
Magnificent Seven is the longest performance yet; a full 8 and a half minutes, largely as a result of a mid song lengthy amusing stream of consciousness go at the audience (which certainly does not sound justified). Joe say “1725 in the house shush shush, as I was saying 17,200 (?!) people in the house, not a whisper was heard except for snoring and their dreaming, somebody whistle, what Yes! A few people wake up! 20 people, 22 people 25, 27!” and then Topper brings it back up to the bridge. Joe continues adlibbing trying to whip up the crowd or more realistically the band but although the effort is there true magnificence is allusive tonight.
A fine Wrong 'Em Boyo is followed by Train In Vain but Mick’s playing at times tonight is ineffective and his playing at the end of the song is weak. It’s the charge through to the end of the set next with a fine Career Opportunities followed by an intense, if unexceptional Clampdown with Joe adlibbing about Geiger Counters but the rest is unclear.
The first encore begins after an edit with a powerful One More Time; Topper’s solo intro starts it off, then Paul’s bass line comes in followed Mick’s crashing guitar and then Joe comes in with that great line “Must I get a witness for all this misery…”
The excellent first encore continues with a segue into a literally screaming version of Brand New Cadillac, the band in overdrive. The audience love it shouting their appreciation. Washington Bullets next and Joe seems to forget the imminent entrance of the representative from the Democratic Revolutionary Front of El Salvador, just having time to shout a quick El Salvador before the guy starts his speech “…fighting to stay alive, Reagan sending guns to kill my people…”. The guy is still going as the band tear into Janie Jones shouting over the top “the people united will never be defeated!”
The second encore after an edit is not so strong, on Armagideon Time the band sound uninspired by a song they have been playing almost every night for 2 years and Mick’s guitar work sounds lazy. Joe maybe knows this and at the end shouts “Spanish..wait” bringing Spanish Bombs, one of his favourites back into the set. Mick responds playing some fine lead guitar and adding backing vocals. London’s Burning or rather New York’s Burning brings a fine and enjoyable, if not exceptional concert to an end.
Did you go? What do you remember?
Info, articles, reviews, comments or photos welcome.
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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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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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