Bonds Residency
Three weeks & 17 gigs that shook up New York and America.
last updated 3 March 2006
Audio 1 - DAT master
Sound 4 - 1hr 57mins - 26 tracks
Lightning Strikes
From the audience master transferred from DAT tape, the sound is very similar to the others recorded by this taper, a little less distant than some but not quite as good as the best ones, like the 10th June recording. There is very good detail in the sound particularly on the guitars. Bass is there but typically blurred and the sound fluctuates a little as taper gets the best ‘view’ at the start.
After 14 shows in the same venue, on almost consecutive nights it would be inconceivable that The Clash’s performances did not suffer from repetition and tiredness. There is indeed a lack of inspiration and freshness on some of the song performances tonight and Joe actually speaks to the audience about it. However what is remarkable about the Bonds shows, (and testimony to the greatness of The Clash), is the overall consistent quality and energy of the performances night after night and although the Bonds shows are probably not amongst the very greatest of Clash concerts, they are all never less than highly enjoyable and exciting.
'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 with the last few seconds of the Morricone intro music then Mick calls out “1-2-3-4” and the band slam into London Calling. Like the majority of song performances tonight it’s tight, hard and very enjoyable but not exceptional. Joe greets the audience which again at Bonds is very lively and enthusiastic with “Thank you, welcome, this is Safe European Home”. The extended ending goes on too long again and Joe fails to come up with any adlibs to make it more interesting. The main set list is now very settled and The Leader is followed by another strong Train in Vain which drops down to drum and bass again then builds impressively with the audience clapping along. Mick again is really into it playing some great guitar which is demonstrated on the improvised instrumental ending to White Man In Hammersmith Palais
On the newer songs like Radio Clash Joe sounds more intense, intoning here each word here with passion. Spanish Bombs is strong with some terrific lead guitar work from Mick. At the end of the song a weary Joe says, “You know we have to stand up here. We’ve been standing here for some time now and I know it’s not your fault but we need some encouragement” The audience though have been very enthusiastic and perhaps the comments were addressed more to himself and the band than to the audience. Whatever it works! The Call Up is intense, the band lock tight in the improvised sections and Joe adlibs “Well I sent these 2 out just to count them off, 2 by 2” Joe and the band are audibly pushing themselves to deliver more.
“Brixton” says Joe and another extended intro lacks some inspiration but Paul’s sounds though pumped up on his Guns Of Brixton. An edit at the end restarts cutting off part of Mick as he says “…you all sing along to” Joe then says “Max, max” and Topper comes up with a different, slower intro to an impressive Bankrobber.
In another swop round of the normal song order Lightning Strikes is next and Joe and the band are on it; great guitar from Mick and the band improvise powerfully. “Control” shouts Joe and Mick picks out the now usual intro which is not as effective as previously but then he stops and Topper’s sustained bass drum beat alone heralds the start of a typically at Bonds intense and powerful Complete Control. Mick delivers a very ‘straight’ solo and Topper thunders away over Mick’s soloing. The audience roar their approval at the end.
Ivan Meets GI Joe is next the recording capturing the two guitars well.
“Radio Saigon” calls Joe and the band conjure up another Apocalypse Now type soundtrack intro to Charlie Don’t Surf but unlike the previous night there is not the added bonus of Joe adlibbing over the top. It’s a very enjoyable performance though with Mick’s playing imaginative and effective and at the end of the song Mick says “This song is in support of the Vietnam veterans on hunger strike in Los Angeles its also for Ralph Cody(?)”
The second CDR begins with another powerful Magnificent Seven, Mick’s screamed “You lot” sounds great and Joe deadpans an adlibbed jibe at the new fashion “ear plugs stereo-oo ear-oles and nothing on! Walkman, Walk Man!” Not as extended as some previous nights but still very enjoyable.
As an introduction to Broadway (“took those right hooks”) and to get some audience reaction Joe says “Thank you, tomorrow night we have Leon Spinks versus Martin(vin!) Hagler”. There are heckles for Gerry Cooney “Oh Larry Holmes!” says Joe. Over the gentle intro Joe jokes, “Yeah I know its rubbish what do you expect Tchaikovsky, Beethoven, Chopin, Mozart or the Beatles!” Joe then starts singing but some feedback problems affect the mood, an unexceptional performance. Somebody Got Murdered is very strong though with Joe unusually starting the song scratching out the rhythm before Mick plays the melody line.
Topper beats out a drum pattern and then the band crashes impressively into the beginning of Police and Thieves. Mid song Mick curiously says “Although this song mentions the bible it does not include..? …Important questions the majority… its not a con, it’s a reference to the bible”. There are no inspired rants from Joe and the song rather runs out of steam as a result. Clampdown as always now ends the main set and its not as impressive as usual; Mick cocks up his verse starting into the verse and then mumbles for 2 lines to fill the space. Joe makes do largely with screams rather than a rant and what he does adlib is unclear. Topper’s thundering drums hold it together well though and the band leave the stage with the audience cheering for more.
An edit restarts with the first encore and a tight, impassioned One More Time. The band usually kick up a gear on the encores and tonight is no exception. Perhaps the highlight tonight is a rare outing for Pressure Drop which is tight and focussed not as ragged as the 8th June performance. Joe bangs out the rhythm and Mick plays the melody line in an arrangement that is akin to the recorded version. It’s played at a fast pace with an extended ending.
Washington Bullets next and at first it appears there’s no El Salvador speaker as following Joe’s usual shouted cue, Mick carries on singing the next verse and then the speaker starts but it’s a short ‘speech’ and the song ends fairly abruptly. The El Salvadorian speaker had been getting some flak from parts of the audience and as Joe plays his intro part to Brand New Cadillac a clearly annoyed Mick says “So you didn’t like that bit but you’ll like this bit as its probably what you’re girl? did”. The band are wound up and it’s a blistering performance Joe on fire screaming out the lyrics and unusually it’s the last song they play in the encore but the audience are screaming for me.
After an edit the band return for a second encore starting with a fine if unexceptional Armagideon Time. The band appear unclear what to play next then eventually Mick starts the gentle intro to Jimmy Jazz, always a live highlight and tonight is no exception. Mick plays a different variation on his guitar part at the start and Topper’s drumming soon turns harder with Mick playing a great solo. Mick’s playing is terrific here and he finds time to add his increasingly common now effects sounds. It just lacks an inspired rant from Joe to be really exceptional. “Londons Burning” screams Joe and the band end a very fine concert with a fast, intense blast of 77 vintage punk with Joe ranting and screaming over the ending.
Did you go? What do you remember?
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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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