The Warehouse, 1820 Tchoupitoulas Street, New Orleans,
Louisiana 70130 - USA

Know Your Rights Tour - Support -Jimmy Dorsey

updated 12 April 2011 - added full review
updated 1 Aug 2011 - added 1st gen source
updated 1 July 2020 - added Audio 3

Audio 1 - -
Sound 3.0 - 2nd gen - tracks 24 - 2hr 7min - tracks 31
has annoying mike rumbles -full

Train in Vain

Audio 2 - -
Sound 3.0 - 1st gen - tracks 24 - 1hr 33min - tracks 24
no better sound and has annoying mike rumbles - ends at Garageland

Audio 3 - possibly better?
Sound 3.5 - 1st gen - tracks 24 - 1hr 31min - tracks 24

Train in Vain

Notes:

FLAC master, 11 September 2018, by elegymart:
Analog audience recording (stereo): unknown mics/recorder > unknown low analog generations > 1988-89 US Maxell XLII 90 (Type II CrO2) analog audio cassette {from the Stonecutter Archives}

Courtesy of the Stonecutter Archives is this appearance by the Clash in the final months of the Warehouse, on a bill with Lee Dorsey and Skor. Terry had only been at the drum stool for about two weeks at this point, taking over from the freshly ejected Topper at the end of May.

This is an alternate source to what has previously circulated on dime by j_blokhed in 2010 -- it's a bit closer to the stage with less stereo separation and there is different audience chatter throughout.

There are claims that the j_blokhed source was taped by Freezer, and there is at least one instance of a distinctive whistle on that recording, whereas this has nothing as audible as on that recording.

Ther are a couple of flaws here that are not on the other source, which is the start of "London Calling" cutting in, "Junco Partner" gets cut off a touch early, and a tape flip in "Police and Thieves." It certainly seems like near the end, the taper was stopping the recorder between encores to conserve tape.

Enjoy,
elegymart

poorer higher generation copies circulate 

The only recording in circulation is from a decent  audience recording with some stereo separation. Previously the nearest to this master tape in circulation was a 2nd generation tape from  Adam. However via Dime in 2010 Jeff has brought into circulation a 1st generation analogue copy from the master tape; a noticeable upgrade with more detail and dynamics. Poorer higher generation copies also widely circulate.

The taper appears to have moved position in the no doubt sweltering and packed Warehouse. The sound improves a notch after Brand New Cadillac. Prior to this Mick’s guitar sound is too thin. Vocals are clearest benefitting from the ‘big league’ sound equipment on this tour but also the mix on this tour which generally pushes vocals high but guitars back in the mix. Terry’s hi hat is clear throughout but although the 1st gen  source is bassy (some ‘remastering’ presumably) there is a lack of defined bass and range generally. It  also suffers from distance to the stage/PA. The first gen. upgrade is though noticeably crisper, more detailed and thus more enjoyable. It runs truer to the correct speed whilst the 2^nd gen is slower.  

The Clash only played only once in New Orleans, the city of Bernie’s favourite music! The performance though captured on a decent audience recording is a routine one though and not particularly unmemorable. The 2010 upgrade to a 1st gen. source though is very welcome and worth seeking out.    

The Warehouse has a legendary status with Bob Marley, Dylan, Springsteen, Bowie plus a host of 70’s heavy metal and progressive rock bands playing the archetypal hippie venue from 1970 until it closed not long after The Clash played in 1982.

Venue

The Warehouse, was a bare-bones, 30,000-square-foot music venue on Tchoupitoulas Street . It began as a cotton warehouse in the 1850s (Joe says on stage it was a pizza warehouse!) and could hold slightly over 3000 people legally.  It opened in 1970 and Jim Morrison’s last concert with The Doors was at the Warehouse on December 12, 1970.

An ideal Clash venue in theory, seat less with fans able to press right up against the stage and with no air conditioners in the summer it was sweltering inside..  

Eventually, with a little more than 12 years of wear and tear and competition rom newly opened venues like the University of New Orleans Lakefront Arena, the State Palace Theater and the Municipal Auditorium, the Warehouse closed its doors. The 1970s were over, and The Warehouse's era had ended. As if to illustrate a changing of the musical guard, the post-New Wave group Talking Heads performed The Warehouse's last show in September 1982. It was eventually demolished in 1989.

Full and interesting history of the venue is at JamBandsOnline. JBO Celebrates Mardi Gras with a Flashback to The Warehouse; THE New Orleans Venue of the 1970′s.

In the early 70s, admission was free if you brought a carpet remnant! 

In 1970, Pink Floyd brought their quadraphonic sound system, which allowed them to direct where the sound was coming from in the Warehouse.  Attendees marveled at how the sound seemed to come from the roof and all around.  Their truck with all their equipment was stolen though and they didn’t return to New Orleans until 1994, 24 years later!

They often had shows Wednesday through Sunday nights and when not booked for music they had organic food lectures, women’s birthing and Lamaze classes, healthy food discussions, and other offerings to the hippies of the day!

Chico Harris wrote here Almost jailed for the Clash. about his post gig experience with New Orleans Police and support act Lee Dorsey’s pistol! 

The recording begins with “London Calling to the faraway towns” A decent performance lots of echo on the vocals but because presumably of the taper’s position Mick’s guitar solo is barely audible. With a brief “Good evening” the band slam into Career Opportunities; Terry thumps away and there’s plenty of energy, Mick and Joe sound pumped up. Rock the Casbah is next or “Rocking the Casbah” as Joe sings. Played fast there’s plenty of energy on these early songs. 

Guns of Brixton is OK with Mick’s guitar more audible. “I wonder if you can see, please welcome Mr Terry Chimes on the drums,here” Train In Vain is fine but unexceptional with Mick’s guitar again too low in the mix. Joe “It feels like we’re in some cellar somewhere, it must be some jazz club I reckon! Actually this used to be a pizza warehouse, you can still smell the pizza on a fine day!”

The 1st gen upgrade improves the enjoyment of Car Jamming; the band stretch out instrumentally over the ending and it’s clear the band are tighter than the first Terry return shows. 

Mick is still playing the light tight funky riffs on Magnificent Seven but his playing is less effective than before and with Terry’s drumming it does not swing.

Going into the instrumental bridge Mick adds weird distorted electronic effects; his growing interest in electronic sounds and new techniques clash with Joe’s “human and wood” approach as he called it.  Joe says “shush” coincidence?!

“this is called pizza music with extra anchovies on it, double mozzarella you say “tomato we say tomata “ Joe wails “Magnificence”  but again since Terry’s return its not!

“I’d like to sing you this Spanish number” Mick’s lead on Spanish Bombs clearer on a decent if unexceptional performance like most here. Paul’s bass just thuds on Wrong Em Boyo but the band are working hard especially Terry adding every chop he can muster! His full collection of drum fills! There’s good interplay between Mick & Joe vocally.

Plenty of energy and echo on “the following is a public announcement with guitar” but Mick’s guitar is too low in the mix again on Know Your Rights. On Junco Partner Joe adds as he’s in the south  “too many cigarette plantations” Should I Stay too has plenty of energy with Mick’s playing inventive and Joe adding his background vocals with gusto!

Sound improves after an edit and some tape damage that goes into an enjoyable energetic Brand New Cadillac; lead guitar now clearer. “Tuning in now to radio London coming down from London I’m part of the poondocks , which is a word I heard here in America which means the ‘sticks’ in English and this is a little number  on dead centre wavelength, non existent style!”  Good sound now and Radio Clash again a highlight of these early Terry shows. 

Terry then takes it into Bankrobber in his heavy rather leaden style. Mick picks out the intro to Somebody Got Murdered but his guitar is too low in the mix again. It’s better on Clampdown but there is no shouted 1234 and the song normally a live killer is one of the weakest ever. There’s little energy and Terry’s drumming on what should be a great opportunity for a drummer pails in comparison with Topper’s playing. For the first time there’s not only no adlibs from Joe but the song is cut short without the usual standout extended section.

Things don’t improve at the start of the first encore with an unexceptional Armagideon Time but Police On My Back is much better and more urgent. Mick belts it out with Joe shouting “yeah what?” after Mick’s “What have I done” 

“Somebody gave me this paper to read so I’ll read it! At the corner of Canal street and Basin Street at Saturday 12^th June there’s a picket at the Simon Bolivar statue, no US intervention in El Salvador” then Terry thunders into I Fought The Law. Plenty of energy but what was he hitting on the “six gun” part  - tin can or paper bag!

Second encore begins with a fine if unexceptional Straight To Hell followed by an audience pleasing but rather lame Safe European Home. After a pause things pick up with Police & Thieves again with the drop out instrumental section which works well, dropping it down to bass then drums and Joe whoops and cries effectively before drums kick back and Mick solos and fills imaginatively. A highlight Garageland though ends an unmemorable Clash gig (except for those there); Joe sounds flat and distant. A quick “thank you” and that’s it.  

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