Bonds Residency
Supported by The Dead Kennedys & the Lee Perry with the Majestics
updated 9 Jan 06
updated 28 Dec 2008 - added support info from Duncan Wells
page updated - started May 2020
There are two audience recordings in circulation:
Audio 1 -
Sound 3.5 - time 1hr 23mins - 2nd gen - tracks 21
less distant - audience -
Magnificent 7
Audio 1 -
Sound 3.5 - time 1hr 46mins - DAT master - tracks 26
distant clear
Magnificent 7
Source 1:
From the audience DAT master, this is from the same taper who amazingly recorded almost all the Bond’s shows. The sound then is very familiar; a very good audience recording which is let down by distance problems particularly with vocals and a flattish sound that does detract from its enjoyment.
An edit loses the end of Clampdown but is otherwise complete.
Source 2:
From a 2nd generation tape this has significantly clearer vocals, the sound being less distant generally. Drums and guitars are very clear although there is distortion on the guitar on the ‘louder’ songs and the sound is predominantly in the right channel. There is plenty of audience sound near the taper but here it adds to the atmosphere and does not annoy. The sound is all to the top end with bass largely buried. However with tone controls turned up bass comes through reasonably well. Sound quality improves during Lightning Strikes and continues through to the end. Having been copied several times there is a loss of master tape crispness.
The tape was edited to a C90 tape and loses Safe European Home, Train In Vain, White Man in Hammersmith Palais, Guns of Brixton and Complete Control.
Which of the two sources is best is down to individual preference but a composite of the second source with the missing songs from the first, is probably the ideal unless of course an upgrade can be found to the second source master.
Playing their second gig of the day, The Clash could have been expected to be on autopilot but the evening show is one of the very best Bonds performances with the band on fire for most of the show. If this were not enough to recommend the two audience recordings of this show, then there is the added bonus of the Lee Perry guesting on the Clash’s version of the song he co-wrote; Police & Thieves!
The Clash’s connections with the man called Rainford Hugh Lee Perry or The Upsetter or Scratch are well known. Throughout pre-1980s Jamaican music: as a singer, songwriter, talent scout, dub mixer, producer, and more, his direct musical contribution was enormous. Furthermore, his musical ideas have inspired not only his contemporaries, but musicians to this day, even in genres outside of reggae.
In 1981, Scratch toured U.S. cities, fronting a white reggae band from New York called the Terrorists. Several people who caught the shows said they were the worst in reggae history! Lee Perry and his band supported The Clash at Bonds the night before this show on the 5th June.
Lee Perry and Majestics
Thanks to Dunban May for the following info;
The band backing up Lee Perry at this gig was from Rochester, NY and known as The Majestics. They recorded one Lee Perry produced LP backing Lee Perry (one cut made it to the indie flick "Brother From Another Planet"). Since Lee didn't have a regular touring band at the time, they got the call.
Quite a testimonial for The Majestics, who by that time had existed playing Reggae for some time as a trio, rising from the ashes of Bahama Mama. who reigned supreme in upstate New York State since the mid-1970s. Begun earlier than THAT as the Putz Brothers, the band was comprised of Ronny Stackman on keys, trumpets & lead vocals, James "Gooma" Schwarz on bass & vocals, Lou LaVilla on drums & vocals, Charlie Freida on sax (solos) & Percussions, Ken Curry on sax, percussion & bg vocals and Jim Kraut on guitar, keys and lead vocals (who replaced Tim Chapman on guitar).
Stackman & Kraut wrote 98% of the group's original material which comprised easily half of their repertoire. They began by doing their favorite covers of Marley, Toots, Burning Spear, Lee Perry, Big Youth and increasingly obscure Jamaican import 45s and slowly began inserting originals. After luring multi-instrumentalist Kraut (who also had a backgrond as a superb classical & bluegrass violinist) from local country-rockers, OLD SALT, Bahama Mama really tool off. Kraut brought a cross genre gumbo into the group injecting elements of Talking Heads, Devo, The Beatles, Steely Dan and myriad new wave & punk bands gleaned from the underground DJ culture in town (I was at least Partially responsible)and the band began touring all over the East Coast, sharing bills with like regional outfits such as The Hooters from Philadelphia and the I-Tones from Boston. They produced one local DIY LP on the ARCHIVE label, funded by Rochester's new & used record guru and ex-Ken Kesey bus rider Dick Storms. The LP, 'Bahama Mama in Concert"(recorded 10/9 & 12/1980 in Rochester & Ithaca, NY) showcases 8 original tracks: 6 by Jim Kraut, 1 by Stackman and 1 by Lavilla. They have reggae elements, but are not PURE reggae per se.
Not too long after the LP came out, the band expired, with Jim Kraut choosing to retire from active playing to go back to school (he is now a psychiatrist). The trio of Stackman, Scwarz & Lavilla kept on, now as the Majestics. Ron began playing as much guitar as keys. The band's prior rep brought them to the attention of Lee Perry who called on them for backing on his Heartbeat LP, recorded in Jamaica. The Bonds gig came up and the band called Jim Kraut out of retirement to rehearse and play the gig opening for the Clash. There are some crazy tales about Lee Perry that bear repeating, like his propensity for scribbling on ANYTHING with permanent black magic markers, like hosts living room walls and on the pages of $75 high-end photographic coffee table folios.
After the gig in NYC, Kraut left again, but the band sought and secured guitarist Rudy Valentino, late of various local Heavy Metal Pop bands and a recording engineering genius to join the Majestics. There were several tape only releases and one vinyl EP that appeared as the group struggled on for a few more years. Fast forward to the 90s and they reappeared AGA as BIG ROOTS, but that's another tale completely. {Check the link below for more info)
http://www.bigroots.com/
'I saw the Clash at Bonds' - Facebook page
Popular Facebook group that recounts memories for the Bonds residency. Well worth a read.
The second source begins with most of the Morricone intro music, the first source with London Calling. The sound improves 30 seconds in on the 2nd source but there are some tape dropouts on this song. The band are in excellent form tonight and Safe European Home is no exception, Joe is fired up adding some adlibs and Mick shouts out the backing vocals with passion. “This song was specially commissioned by Margaret Thatcher” is Joe’s intro to The Leader.
The audience roar their approval after Train in Vain and Joe responding to the very enthusiastic audience says “I want to thank you all. To any of you people who were waiting in line and got pissed around by the cancellations, I want to thank you for your patience, this is (White Man in) Hammersmith Palais” There is absolutely no sign of complacency or tiredness after the matinee show and Joe adds “a bunch of fives” adlib, and then over the final section adlibs at length including “what you looking at?, who me mate, yes you mate!”
“This is Radio Clash. Say hello to Frank Sinatra!” and again Joe comes up with some adlibs during a fine performance. Over the intro to Corner Soul Joe says “This means you don’t have to punch anyone to be a man” After Hamburg 80 and other confrontations Joe had moved a long way from 1977 when he was advocating reacting to violence with violence.
Mick’s guitar dominates very effectively on a strong Guns of Brixton. The Call Up is particularly memorable with Joe singing over a lengthy improvised opening, “There is a rose, there is a bugler, there is a last post, there is a cemetery, there is an army, there is a station, there is a cemetery just for young people” at which the band build to the chorus. Bankrobber is terrific too, the band literally as tight as a drum with Topper’s terrific drumming showcased over an extended improvised ending.
There is an edit just before Complete Control on the first source, which restarts straight into the intro again, which is without Mick’s extended build up heard on FHTE. It is though another ferocious performance of this song at Bonds. On the second source the sound dips at the start of Lightning Strikes but at 2/3rd it improves to the best sound yet, vocals , guitars and drums now very clear indeed. Joe responds to Mick’s excellent playing tonight by adlibbing over Mick’s solo “want money, want justice, want freedom, how hungry can you get”
The weakest part of the concert again is Ivan Meets GI Joe, but things pick up again with Charlie Don’t Surf which Mick intros as “this is a song for the veterans on hunger strike” presumably a reference to a protest by Vietnam vets, rather than the IRA hunger strikes. The performance, unusually tonight, loses its way meandering somewhat to a conclusion. Magnificent Seven next though is excellent, Joe adding “evening time and Walter Cronkite is on the television” and Joe jokes “fucking long innit” (not for the last time!) before Joe shouts 4-3-2-1 and Topper ends it. The audience roar their appreciation.
Broadway is fine with Mick’s guitar fills very clear. Next is a special treat for the audience and band alike, which Mick signals with “This is the man who wrote the song”, and the band kick into Police and Thieves. Mid song as the band drop it down Joe sings “Lee Perry, The Upsetter, singing Police and Thieves in the street…” Lee Perry’s vocal contribution to the song is typically unorthodox, shouting then screaming “next generation” and name checking The Clash. Joe and the band pick it up again and then as the music again drops down Lee continues as Joe moans in the background!
In the Lee Perry biography, Perry joined the Clash on stage for "Police And Thieves". Perry's band at the time, The Majestics, were an opening act.
At the end of the song Mick says “last one for tonight except for the encores 1-2-3-4 “ but Joe interrupts the imminent arrival of Clampdown with “Wait, Murder!” and Mick responds with the intro to a very excellent Somebody Got Murdered.
Mick’s playing is inspired as is Topper’s, the band are on fire now. A short gap then Mick screams “1-2-3” and the band launch into a terrific Clampdown. The guitars dominate the sound, Mick firing off razor sharp barbs of guitar as Joe barks out the lyrics. Toppers thundering drums then drop down and just when it seems Joe is not going to go into a Strummer rant Joe launches into one! - “They’re coming to your house, they’re knocking on your door, (you’re still?) being pushed around. please!” and Joe carries on in classic Strummer unintelligible fashion as Topper thunders on before bringing the song and the main set to an end.
The first encore begins as usual with One More Time with an ‘atmospheric’ guitar intro start. A strong, if not again at Bonds, exceptional performance. The energy and intensity levels then peak as the band tear through three blasts of raw rock’n’roll; Brand New Cadillac, Career Opportunities and Janie Jones. The audience roar for more with The Clash’s mantra “Let them now” still ringing in their ears.
The second encore begins with Armagideon Time with Joe adlibbing “Armagideon it comes from the good book” Mick’s guitar work is inventive but it lacks again at Bonds a roots reggae feel; being too one paced. Jimmy Jazz though is always welcome as it allows the band to stretch out and Joe to adlib a plenty. Again he does not disappoint mid song adding “..all of a sudden they came and interrupted the game, said put down your pool cues and get up against that wall…now I don’t know anything about this man called Jazz, I don’t know if you can smoke him or ?..” Joe spells out J-A- Zee-Zee as Mick matches the approach with his guitar licks then the band pick it up again and Joe adds “They said that’s right Bro, you got the man we’ve been looking for all around. What are we gonna do with him.. Sattamassagana for jimmy dread, cut off his ears and chop off his head!”
“New York's Burning” screams Joe as the band launch into the now usual intense finale, ending a very enjoyable performance. The exhausted Clash at least now had their one day off at Bonds to recover!
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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