Bonds Residency (evening)
Three weeks & 17 gigs that shook up New York and America.
Support The Dead Kennedys
Opening Acts The Bloods and The Bush Tetras
Alternatively it is suggested that the opening act was The Rockats -
- rockabilly band that pre-dated the Strays.
- Album out on Island at the time was Rockats Live At The Ritz. - Pics (including some from the Bonds show) here:
last updated 19 Feb 02
last updated 12 April 2011 with Rockats info
Re June 13, 1981 last (evening) show of the 17 NYC at Bonds.
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I see you have Dead Kennedys as opening act for the very last show, but according to the Annie Toone (The Bloods) article you've included as part of the Bonds history she says:
"Joe invited us two downtown white-girl bands to open for them on the last night of the run. We were over the marquee moon, I can tell you."
So according to her The Bloods and Bush Tetras opened that last show.
I see they are both listed as opening the June 4th show. Of course her memory could be off, as she repeats the legend (?) that Sugarhill Gang was one of the opening acts which I don't believe was ever verified or confirmed.
I just mentioned on the Loving The Clash Facebook page I wish someone would create a list of all the opening acts by specific show/date. It can be found piecemeal all over the web but never have seen such an accurate list compiled.
Hope all us well. D
Audio 1 - DAT master
Sound 3.5 - time 2 hours - 30 tracks
Trian in Vain
Official - From Here to Eternity from the 9th not the 13th
From Here To Eternity includes Train in Vain, Guns of Brixton and Complete Control from this concert, it misdates it as the 13th. The Clash on Broadway Box Set includes Lightning Strikes with the correct date. We now know CBS/Epic recorded both the 9th and the 8th Matinee shows, which explains some of the confusion. The performance of Bankrobber on FHTE II is the only recording circulating from the 8th June CBS recording.
The FHTE tracks unsurprisingly have the very best sound of all, having been professionally mixed and mastered.
From audience DAT master.
The only recording in circulation is again from the very remarkable taper who recorded almost all of the Bonds residency; an amazing feat and one deserving of our utmost appreciation! His original master tape was transferred to DAT like the others and this one is clearer than most. Bass is almost buried but then this taper’s equipment was not able to capture bass sounds with any real clarity anyway.
The downside as always is distance; that lack of in your face quality that makes for the most enjoyable recordings.
Unfortunately from Pressure Drop onwards the sound quality dips becoming shriller and thinner.
The Clash’s marathon run of 17 concerts at Bond’s finally concluded with this appropriately marathon concert of 30 songs. Despite this being the second show of the day The Clash found the energy and commitment to deliver their longest Bond’s show with two long encores ending with an intense White Riot. This is one of the best Bond’s shows to seek out for the variety of the songs played and the quality of the performance.
With master recordings circulating from incredibly all 17 shows it is possible to make your own informed judgement on the quality of the now legendary Bond’s residency by The Clash. Bond’s was The Clash in consistently powerful, effective and professional form. Their ability to produce such vital and involved performances night after night on the same stage is remarkable.
However using Joe Strummer’s own criteria, none of the Bonds shows quite hit the incendiary peaks of their truly greatest performances. As Joe put it “.. There were those nights when it burns, when you cease to be anybody at all, you are just part of something, your hands take over, you don’t know what you’re doing or saying, it BURNS” [MTV 91]. Thanks to the circulating recordings you can decide yourself whether any of the Bond’s shows “burned” but surely it would be hard not to conclude that The Clash’s performances at Bond’s were indeed a remarkable event in the history of rock’n’roll and do substantiate their now legendary status.
'I saw the Clash at Bonds' - Facebook page
Popular Facebook group that recounts memories for the Bonds residency. Well worth a read.
This very clear recording, starts with the end of the ‘60 Seconds to What’ intro, swiftly followed by Topper’s counting in, a “Good evening” from Joe, and The Clash launch into their final Bonds performance with a fine London Calling. Joe sounds pumped up, enunciating each word in classic Strummer style. Safe European Home demonstrates again how their ‘tour muscles’ were now well and truly developed, they are super tight, powerful and professional. “Welcome to the sweat pit!” shouts Joe before The Leader acknowledging the enthusiasm of the fans in front of the stage!
The as always very enthusiastic Bond’s audience roar their approval for Mick’s Train In Vain. “OK You got enough room to move? This is one of New York’s classiest joints, so we don’t want any of this scum shrimp stuff!” says Joe before a fine White Man In Hammersmith Palais.
Radio Clash shows few of the improvised sections of the earlier Bond’s shows; the band focussed on the job and finishing the residency in style.
On an excellent Corner Soul Topper’s drumming is a delight, there is precious little evidence at Bond’s (to these ears) of his drumming suffering from his now well-established and serious heroin habit. There is the now usual extended build up intro to a powerful Guns of Brixton. The consistently excellent performances in this first third of the concert continue with a strong The Call Up, which also features a lengthy intro. Bankrobber is a typically at Bond’s highly enjoyable performance with little variations played each night. “Hold still, Hold still!” shouts Joe during a great instrumental break, Topper again in top form.
Before Complete Control Joe makes a cryptic comment (suggesting their weariness) of “Take out the papers and the trash” which comes from Leiber and Stoller’s Yakety Yak; “Take out the papers and the trash, Or you don't get no spendin' cash If you don't scrub that kitchen floor ,You ain't gonna rock and roll no more”
Mick plays the opening added intro slowly but then lets Topper’s bass drum take over, but Mick’s guitar sounds too distant to be really effective. Joe sounds tired the band forcing themselves through this last hurdle. There is an edit at the end.
“Baseballs strike!” shouts Joe before Lightning Strikes, he sounds fired up for this one and Mick plays some great guitar. Joe adlibs “New York, out of sight, Broadway, roach motel, crazy days” An edit or tape drop out loses a few seconds mid song which gets an extended improvised treatment. There is then a lengthy pause before Topper sings Ivan Meets GI Joe which unusually features some adlibs from Joe (sadly unclear).
“Saigon. General MacArthur” says Joe as Mick gently picks out the intro to Charlie Don’t Surf enjoyably improvising around the melody as the song builds. Not one of the best Bond’s performances of this song though. At the end of the song Mick’s Apocalypse Now sound effects are still continuing and in a typical bit of Strummer wit he jokes “And that’s just the hot dog stall!” A young woman then comes on stage to which Joe responds, “It’s Topper’s Mum! Can we have a microphone here?”
Then in something out of a Springsteen show the female voice asks, “Can I kiss you?” “Yeah” responds Joe quietly, and the audience applaud. It’s straight back to business though as Joe shouts “Don’t you ever stop…” and the band launch into Magnificent Seven with Mick screaming “You lot” as if his life depended on it! “Fuckin’ long in’ it” says Joe near the end but not as long as some of the earlier at Bond’s 8 minute versions!
Joe is in fine vocal form on Broadway, then before a fine if unexceptional Somebody Got Murdered something in the audience provokes him to shout “Its shit, beer, shit”. Joe’s intro to Police and Thieves is “Junior Murvin, Lee Perry, young gifted and black” Mick’s playing is particularly enjoyable, delivering a strong solo and Joe adlibs “54-46 was my number right now someone else has that number” referring to the Toots & The Maytals classic.
Clampdown is ferocious and super tight, as the band conjure up an aural nuclear melt down Joe adlibs “they put your whole body in a matchbox, (on it it says) where you were born, what’s your age, where do you go.” Topper’s thunderous drumming and Joes screams bring an excellent performance and the main set to an end.
After an edit the band come back on stage for an exceptionally long first encore.
Bob Gruen plays his bugle fanfare, and Joe says, “Who’s the bloke who wants this guitar? Hasn’t worked yet then, never mind that” then Mick screams “1-2-3-4” and Career Opportunities kicks off the powerful encores, the band fired up and enjoying themselves. There are plenty of changes to the usual encores with
Street Parade next, heavy with Mick’s lead guitar and battery of effects. A very strong One More Time follows with an edit at the end, which loses nothing. “Pressure on , pr..ess…ure” shouts Joe as the band go into a fine Pressure Drop. Unfortunately from here on in the sound dips becoming shriller and a little more distant.
On Washington Bullets, which features some great guitar playing from Mick, our old friend from El Salvador returns. The representative from the Democratic Revolutionary Front of El Salvador had not been heard for several nights and had taken a lot of stick from parts of the Bond’ audiences, however neither The Clash or he had obviously been swayed by it. He makes a similar speech to earlier nights “fighting to stay alive.. Reagan sends million of dollars to kill my people”.
After a lengthy pause; presumably the band deciding what next to play on this extended encore, they perform an intense, guitar heavy Armagideon Time. Back to 77 for a charge through a fierce Janie Jones and an intense New York’s Burning.
Joe says “Goodnight” but New York wants more and after an edit the band return for a second encore. Junco Partner (not played since the 3rd) has a long intro as all the band return to the stage and Mick’s effects are an increasingly present feature in the band’s sound, even on this song.
After a temporary pause the band crank it right back up for an intense Brand New Cadillac followed immediately by a fitting finale to the historic Bond’s residency of an intense White Riot; an exhausted but no doubt elated band adding a further chorus.
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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