There may be two sources for this (or they may be the same source) but neither are in ciculation.
Audio 1 (in circulation) - Master
38 mins - Sound 2 - Tracks 13
Janie Jones
This source is probably a different source to the one below? This one may possibly have been taped by Jonh Ingham which he refers to his book Englands Dreaming. Jons photo below which can be found here London Calling, rare photos.
During 1976 and 1977 Jordi Valls recorded live on nine audio cassettes some of the early punk gigs in London. These tapes, featuring The Sex Pistols, The Clash, The Damned, Subway Sect, Billy Idol & Generation X, The Slits and Buzzcocks, capture the true sound of punk - raw, countercultural and subversive - as a phenomenon that had a radical impact on popular music and fashion, first in Britain and America, and then worldwide.
Arguably the most interesting aspect of punk is its vital, visceral energy, and the demonstration that the only thing that really matters is the intention, the power of the imagination, and nothing more.
This book is a witness of this movement. With substantial graphic material such as photographs, newspapers, cuttings, gig tickets, make up this big and valuable archive on a movement so intense as self-destructive.
The Clash. 20.9.1976 100 Club Oxford Street, London (punk festival).
The Clash. 16.10.1976, University of London.
The Clash. 29.10.1976, Fulham Old Town Hall, London.
The Clash. 5.11.1976, Royal College of Art, London.
The Clash 11.3.77 The Coliseum, Harlesden, London.
The Clash. 1.5-1977. Civic Hall, Guildford.
BBC Radio London radio interview (2003)
With Paul and Mick.
At 40mins they talk about the chaos, bottle throwing at the RCA gig.
Background
'A Night Of Treason'
The Royal College of Art is best known as a centre of British art [Hockney, Kitaj, Conran] but on November 5, 1976 it hosted A Night Of Treason, starring The Clash.
Punk was going overground and the place was full of punks, the interested and students. The stage door policy was loose and backstage was as crowded as out front. The dressing rooms and corridors were seething with talent. Siouxsie Sioux was gathering her tribe to follow up the Punk Festival appearance. Billy Idol and Tony James were about to leave Chelsea (one time on stage) and start a band called Generation X. Adrian Thrills was starting a fanzine. Mark P was working on the next issue of Sniffin' Glue.
If Punk was an attitude then Subway Sect was as Punk as it got. They didn't look or sound like anything else on a stage [before or since]. Their complete lack of showmanship and off-centre music really made you feel you were seeing something new. Then The Jam came on, all two-tone shoes and Shepherds Bush riffs. Somehow the sharp suits and Rickenbackers were at odds with the homemade fashions and Fenders of the Pistols and the Clash and backstage they sat apart from the other bands.
The Clash were incendiary. The sound was big and loud and they climbed all over their brace of songs like kids on a building site, crashing guitars and a rabble-rousing Joe. Then a student threw a beer glass. [Depressingly, it was always students who threw glasses and bottles.] Joe threw his arms above his head and shouted ‘Under heavy manners!' He sought out the perpetrator, who got on stage. Joe questioned him and the guy looked sheepish. Then Sid Vicious got on stage, muttering into the mic and looking well-named. A few minutes later and they got back to the wonderful racket.
People used to say their life changed the first time they saw The Clash. This was the night when that scenario began.
Tickets, Posters
POSTER, A NIGHT OF TREASON
Jonh Ingham, Mick Jones and Joe Strummer at The Royal College Of Art, London, 1976. "That was the first time The Clash had a big stage, and they went crazy. There was a saying at the time, 'If you see The Clash, it will change your life.' And that was true of that night ñ they were spectacular. If they ran fast enough they would defy gravity; if they played fast enough they would be in another dimension."
The building where The Clash performed at the Royal College of Art in London was not actually built by the college. It was originally built by Henry VIII in the year 1522. The building was initially constructed for the reception of Charles V of Spain.
It was later presented to the City of London by King Edward VI and repurposed as a workhouse for the poor and a house of correction.
The Clash, Royal College of Art, November 5, 1976 - Jonh Ingham
The Clash Claim the Stage:
Night of Treason at the RCA
“On the bill it was The Clash, Subway Sect and The Jam, and it was called the Night of Treason because it was on the fifth of November, Guy Fawkes Night.
The audience was very much a mix of the original punk fans, about 100 to 150 people. Then there was a large group who had just come to see what the fuss was all about, and then there was a large group of the Art College students. For The Clash, that was the biggest stage they had been on at that point and they just grabbed it — they just stamped their authority all over the place that night. I've heard people say, 'I saw The Clash that night and they changed my life.'”
“Somewhere in the middle of the set this beer glass came flying to the stage and smashed across it. Joe Strummer wanted none of that so he just stopped it and said, 'Who threw that?' Some guy put up his hand, so Strummer singled him out and said, 'If you got something to say, come up here and say it.' So this guy got up on stage and they started having this conversation, it was very odd. Weirdly, these university students — who were supposed to be the smart ones — were actually the dumb ones in this whole movement. They were the ones throwing beer glasses and acting like idiots.”
Excerpt from This Long Century: THE CLASH By Jon Savage Link or archived PDF
Beer Mugs and Mayhem:
Strummer Strikes Back at the Royal College of Art
The show ended when Joe Strummer dropped his guitar, leapt off the stage and attacked the long-haired students who had been pelting them with beer mugs. They were rolling around in front of me while The Stooges’ I Wanna Be Your Dog sucked in all the air — a synaesthesia of violent confrontation.
Jonh Ingham on The ClashPublished on 27 September 2013AUDIO INTERVIEW Link or archived PDF
Capturing Chaos:
Jonh Ingham on The Clash at the RCA
'The Clash, A Night of Treason, Royal College of Art', 1976 - taken on Olympus OM1 with a 35mm lens using Tri-X film. In this interview, photographer and journalist Jonh Ingham speaks with Nick Knight about his iconic photograph of The Clash performing at the Royal College of Art in November 1976. The conversation revisits the atmosphere of that explosive gig - "A Night of Treason" - and captures Ingham's perspective as both a witness and chronicler of punk's formative moment.
BOOK EXCERPTThe Clash at the Royal College of Art, 1976 Author Jon Savage recalls this seminal night in punk history, noting that he personally taped The Clash's set at the RCA - though he wasn't the only one. The book contextualises the gig within the larger birth of punk in Britain and highlights the sheer intensity of that performance.
Tony Beesley and Anthony Davie, Ignore Alien Orders: On Parole With The Clash, Days Like Tomorrow Books, UK Hardcover, January 2019. ISBN: 9780957279387.
Ignore Alien Orders: On Parole With The Clash
A brilliant fan-curated anthology chronicling the legacy of The Clash through firsthand accounts, rare photographs, and memorabilia. This 304-page hardcover offers a unique, grassroots perspective on the band's enduring impact.
A must buy (if you can locate a copy)
Kris Needs – “It all started on the night of October 9th, 1976, with a run-up that had been going on for weeks. At that time, punk rock was still just a new trend we'd read about in the music press — which meant something then. Then Sniffin' Glue fanzine, which meant even more. The Sex Pistols were leading the charge and, going on reports from the front published in Sounds and Melody Maker, there was obviously something going on that was so badly needed in those flat times dominated by progressive rock excess. In 1976, the most exciting bands to see live were Dr Feelgood and Eddie and the Hot Rods, because they stripped rock ’n’ roll back with the energy it had come in on 20 years earlier. The most exciting album was the Ramones’ debut, released that spring.”
Photo copyright: Geoffrey Tyrell
“Reports of the Pistols’ gigs suggested something else, a proper revolution that would really take things on. But when I saw them, in the cavernous boom of a near-empty Dunstable Queensway Hall, though visually stunning, the muddy howl was not quite the cathartic epiphany hoped for, further diffused by an element of ‘lazy sod’ disdain they hadn’t earned the right to exhibit yet.”
“More interesting were the other bands mentioned in music press punk round-ups and reviews of September’s 100 Club Festival, particularly this bunch — The Clash. I’d seen them on Portobello Road and their clothes looked more accessible than the Pistols’ £100 strides: Oxfam shop jackets and shirts, splattered with paint, sported with bags of attitude. There was already a huge buzz building on The Clash, further boosted when they appeared on the cover of Sniffin' Glue, and a local promoter I’d gone to school with booked them to play at Leighton Buzzard’s Tiddenfoot Leisure Centre, paying them £20 and dealing direct with Bernie Rhodes.”
“As the recently-launched New York Rocker’s UK correspondent, I’d been asked to do a Clash piece and, in the days leading up to the gig, enjoyed epic phone calls from Bernie. I had no idea of his background, just that he was a used car dealer, and he gave me the works on how they were the only band that mattered and how they were going to turn everything upside down. And he was dead right. Arriving at a half-full hall draped with local rock fans, hippies and a smattering of punks, I met The Clash for the first time in the bar. I thought Mick looked familiar and we had met before — in dressing rooms when, like me, he’d been a teenage fan of Mott The Hoople, the previous only band that mattered.”
“By the end of the evening a bond had been cemented, compounded when The Clash came on and, to put it bluntly, were the most exciting thing I’d ever seen. Exploding into the newly-written White Riot, their set, which also included 1977, London’s Burning and Janie Jones, was like a bomb going off — an all-out declaration of war on all the bullshit you’d experienced in your whole short life.”
“I wrote in New York Rocker (and I stand by these words now), ‘The Clash taking the stage was like an injection of electricity into the smoky air. They charged headlong into a dynamite opener with shattering energy, strutting and lurching with manic, stuttering violence. Like clockwork robots out of control.’”
“Before they’d played a note the group hit you straight between the eyes with the visuals — Oxfam shirts splattered with paint and daubed with slogans like ‘Sten Guns In Knightsbridge.’ Despite sound problems, they were astounding, almost overpowering in their attack and conviction. In The Clash’s 35-minute set, I counted about six potential rock ’n’ roll killer classics. Every song they do is their own; none over three minutes long, each razor sharp and rocking at lethal speed.”
“The Clash are the most devastating of the new wave British bands... riding the movement, happy to be part of something fresh and new, but with the ease of geezers who know they’ll be going from strength to strength when the bandwagon jumpers have long since fallen into the dust and clambered on to another trend.”
“The Clash are vital and different. Every gig they do — and so far there have been about half a dozen — is better than the last. They’re great now. In three months, they’ll be staggering.”
“That was it. I had seen The Band. Our band. The one that would change my life in so many ways and lead to endless escapades, memorable moments and incredible music. And I had a friend for life in Mick.”
“After the show, Bernie steamed in and gave me the full manifesto. The one thing that stuck was: ‘It’s THE Clash, not the Clash.’ He showed off his car with the CLASH number plate.”
— Kris Needs delivers a landmark profile of The Clash.
— Declares The Clash the most exciting group of the new wave, more important than Eddie & The Hot Rods or The Damned.
— First gig recalled: Tiddenfoot Leisure Centre, Leighton Buzzard, with an explosive White Riot.
— Profiles members Joe Strummer, Mick Jones, Paul Simonon, and drummer Terry Chimes; notes rehearsal base in Camden Town under manager Bernard Rhodes.
— Song inspirations: Notting Hill Riots (White Riot), vice queen Janie Jones (Janie Jones), London’s Burning on the Westway, dystopian 1977.
— History covered from London S.S. through The Heartdrops, to Joe quitting the 101ers.
— Tiddenfoot Leisure Centre (first out-of-London gig 9 October 1976); 100 Club Punk Festival (20 Sept 1976); Screen on the Green (29 Aug 1976); ICA gigs (2nd and 23rd Oct 1976); RCA (5 Nov 1976); Roxy (1 Jan 1977); Anarchy Tour with Sex Pistols, Damned, Heartbreakers (Dec 1976); Harlesden Colosseum (11 Mar 1977).
— On the “Anarchy” tour: cancelled dates after the Sex Pistols–Bill Grundy scandal, leaving the band frustrated but politically hardened.
— Focus on the Harlesden Colosseum gig (March 1977): The Slits debut, Subway Sect revival, new-look Buzzcocks, capped by a ferocious Clash set.
— Recording insights: sessions with Guy Stevens, later replaced by Micky Foote. Songs include White Riot, 1977, Garage Land, and radical reggae cover Police & Thieves. — Notes the CBS contract, six-figure deal, and accusations of “selling out,” countered by insistence on artistic control. — Concludes that the debut LP will be “the most exciting album in years” and an all-time classic.
Needs, Kris."The Clash: Konkrete Klockwork."ZigZag, no. 70, April 1977, pp. 18–21
ZIGZAG: KONKRETE KLOCKWORK (1)
Kris Needs charts the rise of The Clash through gigs at Leighton Buzzard,ICA, 100 Club, Royal College of Art, Harlesden Colosseum, and more, describing them as the most vital and revolutionary band of the New Wave. He praises their DIY ethic, explosive live shows, and upcoming debut album as a defining moment in modern rock.
Kris Needs, ZigZag, April 1977
THE CLASH: KONKRETE KLOCKWORK
At the moment there isn't a group in the New Wave that comes within spitting distance of The Clash, live or on record. Within a year they have become the most exciting live band in the country, and shortly they will release an album which is the most stunning debut for years... I believe it'll be as important as the first Rolling Stones album in shaping a new direction for rock'n'roll.
The New Wave groups who have so far made albums — The Hot Rods and The Damned — have been OK for party music, but The Clash are something far more important and vital. Not only is their music original and lethally energised, but it encompasses a whole new attitude of positive creativity which, if it rubs off on their audience, can only be a good thing. They are trying to wake people up to reality as well as plumbing the fine essence of ultimate rock'n'roll.
First time I saw The Clash was at their first out-of-London gig at Leighton Buzzard’s Tiddenfoot Leisure Centre, about an hour's drive out of London. The hall was like a large hotel lounge, which encouraged the crowd to drape itself over the seating.
The Clash taking the stage was like an injection of electricity into the smoky air. They charged headlong into "White Riot" with shattering energy, strutting and leaping like clockwork robots out of control. They never let up for half an hour. Despite sound problems they were astounding, almost overpowering in their attack and conviction.
The Clash are: Mick Jones (lead guitar, vocals); Joe Strummer (vocals, guitar); Paul Simenon (bass, vocals). They haven't got a permanent drummer, although Terry Chimes has done most gigs with them and plays on the album.
They are managed by one Bernard Rhodes and rehearse/hang out in this huge ex-warehouse he found in Camden Town between Dingwalls and The Roundhouse. They converted it to a rehearsal room downstairs, with pink drapes and old barber's chairs for added home comforts; and upstairs is where the group create their outfits, revamping jumble sale purchases with acrylic paint spatterings and slogans... cheap and striking.
Mick: "We encourage the kids to paint their clothes. That way they get involved, feel part of it. Now they come along and show us ideas we like."
Back to the music. They write all their own songs, no Clash number is longer than three minutes, and not many exceed two. Each is fast, razor-sharp and rocking, with insanely catchy choruses. The songs are viciously topical and directly inspired by the group's London environment.
"White Riot" was written after Joe and Mick got caught in the Notting Hill riots last year. "Janie Jones" concerns the bloke with a boring job who gets off by being in love with Janie Jones (the imprisoned vice queen). "London’s Burning" ("with boredom") is "a celebration of the Westway under a yellow light," says Joe Strummer. "1977" is a cold look at the future/present: "No Elvis, Beatles or The Rolling Stones in 1977," and "Ain't so lucky to be rich; sten guns in Knightsbridge." There's loads... all vital, power-packed SONGS.
The Clash are very much a London band. They couldn't live anywhere else or their music would suffer.
Joe: "We love the place — blocks of flats, concrete."
Mick: "I hate the country. The minute I see cows I feel sick."
The Clash formed a year ago this month. Originally Mick, who like Paul comes from Brixton, was a member of The London SS, arguably the first New Wave group. The line-up also included Brian James (now with The Damned) and Tony James (bassist with Generation X). They were rehearsing in 1975, and Paul came down to a rehearsal one day and met Mick, who got him singing. "I'd never sung or played bass before in my life."
The S.S. "didn't work out" and split before they'd done a gig. Mick got together with Paul and formed The Heartdrops, which later became The Clash. Paul learned bass by sticking white dots on the fret board of the machine he'd acquired.
There was another guitarist too... Keith Levine, who left mysteriously last autumn and is getting his own band together.
They needed a singer, and one day when Mick and Paul were walking down a street in Shepherd's Bush they bumped into Joe, who was still with The 101ers. Mick told him that he was great but his band stunk, and asked him to join The Clash. Joe was bored with singing pub rock standards, and despite the fact that The 101ers were rising fast, he broke them up and joined The Clash (on April 1st, to be precise).
By the time The 101ers single "Keys To Your Heart" came out, Joe was firmly involved with The Clash. Goodbye rhythm & blues, hello 1976.
When they were ready, The Clash unveiled themselves to a rehearsal room full of press and friends. The date was Friday the 13th. Reaction was immediate and they got rave reviews.
There followed a select series of London dates at places like the 100 Club (they did the punk rock festival last summer), the Sex Pistols all-nighter at the Screen On The Green, and two at the Institute Of Contemporary Arts (the last one being the time when Patti Smith leapt on stage during "I'm So Bored With The U.S.A.").
The Clash have always taken gigs seriously, never being content to just trundle round the circuits night after night. They've only done The Roxy once (January) and they often organise their own gigs... that way everything's right and it becomes a complete event. They might lose money, but it's made for some great gigs. There've been the ICA gigs, one at the Royal College of Art, where hippy art students threw glasses at the stage, and the last one, which was on March 11th at Harlesden Colosseum.
[...continues with full event report, band philosophy, and recording insight. Please request Part 2 if you would like the remainder included.]
Songs Smiths | Facebook - The show ended when Joe Strummer dropped his guitar, leap off the stage and attacked the long-haired students who had been pelting them with beer mugs.
My mate was the entertainments organiser at the Royal, "it was the Damned wot done it"
Mark Whyatt - My mate was the entertainments organiser at the Royal at that time and still has a letter from the Dean telling him off for letting ‘men of ill repute’ into the Art Bar to play a gig. It wasn’t the Clash, it was the Damned, apparently they set fire to the curtains and were shagging and getting high in the toilets, Punk Rock innit.
Funny, I was at that gig with Sid
Steven Walsh - Funny, I was at that gig with Sid. A bunch of students (I presume) who looked not unlike the bloke on the left, were throwing plastic glasses and other projectiles at the stage.
A partially full pint pot hit Joe straight in the temple. He carried on and finished the song, then put down his guitar as calm as you like and waded into the crowd to sort out the person who threw it.
Sid must have followed. It all kicked off from then on and a bunch of us steamed in. I followed instantly, Joe had a real ‘leader of men' quality to him like some Boys Own hero.
I would have followed him anywhere! I wound up on the back of some large bloke in a leather coat boxing his ears like he was a big brother giving me a piggy back, while my friend Kenny Morris kicked the geezer with his winkle pickers. It was kind of comic book, but those pointy shoes Must have hurt somewhat.
Eventually I was hauled off by some big bouncer who I knew from Camberwell. We all got a cab back to the Davis Road squat afterwards and some guys in a white VW followed us and lobbed a bottle and sped off up the Uxbridge Road. Must have upset someone. Steve Walsh FB
Sid got onstage and spoke through the mic
Paul Alexander Evans –– Sid wasn't singing, someone threw a glass and Joe complained about it, Sid got onstage and spoke through the mic, the whole gig is on YouTube in audio, check it out.
Alan Buckingham –– I remember a guy shouting at him from the audience and then getting up onstage to fight Joe Strummer. Same thing happened a few weeks before at another gig, so I guessed it was staged! But it was a great gig and that added to the excitement. Facebook
Pete Watt –– I was there...some altercations ensued when Joe and Paul dived into the crowd to sort out some bozos: not Mick..."Someone's gotta stay in tune" Facebook
The show ended when Joe Strummer dropped his guitar, leap off the stage and attacked the long-haired students
The Clash at the Royal College of Art, London, 5th November 76 with guest vocalist Sid Vicious [he was appealing to people to stop throwing glasses]. Photos by John Ingham.
Support bands
The Royal College Of Art show on 5 November 1976. My recollection is that four groups performed - two punk and two non-punk, and to a very divided audience? First up was one of the non-punk groups, whose name I don't remember, Second was The Subway Sect, then The Rockets and finally The Clash.
The Clash at the Royal College of Art, London, 5th November 76 with guest vocalist Sid Vicious [he was appealing to people to stop throwing glasses]. Photos by John Ingham.
Mick Jones and Paul Simonon backstage in London, 1977.
Photographer Syd Shelton recalls, "This was taken at a gig in London but I canít remember the venue, nor can Mick Jones. It ís really early Clash. I managed to blag my way backstage and take that picture. There ís something very raw about it: it ís straight-on flash, 35mm, black and white, grainy... Theyíre wearing Vivienne Westwood gear theyíve customised by sewing on silk Haile Selassie patches."
The Clash performing at the Royal College of Art (RCA), London, 5th November 1976. Left to right: Mick Jones, Joe Strummer (1952 - 2002), Terry Chimes and Paul Simonon. Photo by Julian Yewdall/Getty Images)
London calling: Jonh Ingham
See rare photos from the rise of U.K. punk rock
photos or archived PDF` Jonh Ingham takes us behind iconic photos of the Sex Pistols, the Clash and more.
The Clash at the Royal College of Art, London, 5th November 76 with guest vocalist Sid Vicious.
Joe backstage at a concert at the Royal College of Art (RCA)
Facebook post | The Clash Royal College of Art 1976 - photo
Jones And Stevens
English record producer and manager Guy Stevens (1943 - 1981, left) and guitarist Mick Jones of British punk group The Clash, backstage at a concert at the Royal College of Art (RCA), London, 5th November 1976. In 1979 Stevens produced The Clash album, 'London Calling'. (Photo by Julian Yewdall/Getty Images)
Punk Rockers Backstage
Left to right: singer Vic Godard, of Subway Sect, their roadie Barry Auguste, with bassist Paul Simonon and singer Joe Strummer of 'The Clash', backstage at a concert at the Royal College of Art (RCA), London, 5th November 1976. Subway Sect are one of The Clash's support bands at the gig. (Photo by Julian Yewdall/Getty Images)
White Riot
I'm So Bored With The USA
Career Opportunities
How Can I Understand The Flies?
London's Burning ‘~Strummer rant/Sid glass throwing Protex Blue
Deny
Mark Me Absent **
What's My Name?
48 Hours
Janie Jones
1977
White Riot
EARLY GIGS '76,
LOTs of ARTICLES, POSTERS, CLIPPINGS ...
A collection of • Tour previews
• Tour posters
• Interviews
• Features
• Articles
• Tour information
Ignore Alien Orders: On Parole With The Clash Tony Beesley & Anthony Davie
Extensive eyewitness coverage of the early years from the Black Swan pub onwards
All the Young Punks
The People's history of The Clash
All The Young Punks is a people’s history of The Clash, told through the memories of over 300 fans across nearly 150 gigs. From their punk beginnings in 1976 to global fame, the book captures the raw energy, political fire, and unforgettable stage presence of Joe Strummer, Mick Jones, Paul Simonon, and Topper Headon. Featuring a foreword by Billy Bragg, it’s a vivid tribute to the only band that mattered.
Return of the Last Gang in Town,
Marcus Gray
Black Swan pg142 ... Rehearsal Rehearsals pg ...
Screen on the Green pg151, 164 ...
The 100 Club (Aug) pg160
Roundhouse pg160 ...
100 Club Festival pg164 ...
Tiddenfoot pg177 ...
Guildford pg178 ...
Aklan Hall pg178 ...
Uni of London pg178 ...
ICA (23 Oct) pg 176,180, 183 ...
Birmingham pg180 ...
RCA pg182 ...
Fulham pg182 ...
Ilford Lady Lacy pg185 ... Birmingham (27th) pg ...
Wycombe pg187 ... Lanchester Poly pg ...
Polydor demos pg188 ... Janet Street Porter LWT pg ...
Passion is a Fashion,
Pat Gilbert
Black Swan pg95, 96 ... Rehearsal Rehearsals pg ... Screen on the Green pg ...
The 100 Club (Aug) pg ... Roundhouse pg ...
100 Club Festival pg ... Tiddenfoot pg114 ...
Guildford pg114 ...
Uni of London pg114 ...
ICA (23 Oct) pg114 ...
Birmingham pg114 ...
RCA pg116 ...
Fulham pg116 ...
Ilford pg114,127 ... Birmingham pg ...
Polydor demos pg117 ... Janet Street Porter LWT pg 177 ...
Redemption Song,
Chris Salewicz
Black Swan pg ... Rehearsal Rehearsals pg ...
Screen on the Green pg ...
The 100 Club (Aug) pg ...
Roundhouse pg ...
100 Club Festival pg ...
Tiddenfoot pg165 ...
ICA (23 Oct) pg ...
RCA pg168 ...
Fulham pg166 ...
Ilford pg170 ...
Wycombe pg170 ... Lanchester Poly pg 173 ...
Polydor demos pg170 ...
Joe Strummer and the legend of The Clash
Kris Needs
Black Swan pg42 ...
Rehearsal Rehearsal pg43 ...
Screen on the Green pg44 ... 100 Club Festival pg ... Tiddenfoot pg49 ...
ICA (23 Oct) pg54, 56 ...
Birmingham pg56 ...
RCA pg56 ...
Ilford pg64 (photo) ... Birmingham pg ... Fulham pg56 ... Wycombe pg58 ...
Janet Street Porter LWT pg60 ...
Lanchester Poly (Rob Harper) pg61 ...
Polydor demos pg59 ...
The Clash (official)
by The Clash (Author), Mal Peachey
Black Swan pg ... Rehearsal Rehearsal pg ... Screen on the Green pg ... The 100 Club (Aug) pg ... Roundhouse pg ...
100 Club Festival pg ... ICA (23 Oct) pg ...
Uni of London pg82, 87 ... RCA pg83 ...
Janet Street Porter LWT pg60
Brixton Academy 8 March 1984
ST. PAUL, MN - MAY 15
Other 1984 photos
Sacramento Oct 22 1982
Oct 13 1982 Shea
Oct 12 1982 Shea
San Francisco, Jun 22 1982
Hamburg, Germany May 12 1981
San Francisco, Mar 02 1980
Los Angeles, April 27 1980
Notre Dame Hall Jul 06 1979
New York Sep 20 1979
Southall Jul 14 1979
San Francisco, Feb 09 1979
San FranciscoFeb 08 1979
Berkeley, Feb 02 1979
Toronto, Feb 20 1979
RAR Apr 30 1978
Roxy Oct 25 1978
Rainbow May 9 1977
Us May 28 1983
Sep 11, 2013: THE CLASH (REUNION) - Paris France 2 IMAGES
Mar 16, 1984: THE CLASH - Out of Control UK Tour - Academy Brixton London 19 IMAGES
Jul 10, 1982: THE CLASH - Casbah Club UK Tour - Brixton Fair Deal London 16 IMAGES
1982: THE CLASH - Photosession in San Francisco CA USA 2 IMAGES
Jul 25, 1981: JOE STRUMMER - At an event at the Wimpy Bar Piccadilly Circus London 33 IMAGES
Jun 16, 1980: THE CLASH - Hammersmith Palais London 13 IMAGES
Feb 17, 1980: THE CLASH - Lyceum Ballroom London 8 IMAGES
Jul 06, 1979: THE CLASH - Notre Dame Hall London 54 IMAGES
Jan 03, 1979: THE CLASH - Lyceum Ballroom London 19 IMAGES
Dec 1978: THE CLASH - Lyceum Ballroom London 34 IMAGES
Jul 24, 1978: THE CLASH - Music Machine London 48 IMAGES Aug 05, 1977: THE CLASH - Mont-de-Marsan Punk Rock Festival France 33 IMAGES
1977: THE CLASH - London 18 IMAGES
Joe Strummer And there are two Joe Strummer sites, official and unnoffical here
Clash City Collectors - excellent
Facebook Page - for Clash Collectors to share unusual & interesting items like..Vinyl. Badges, Posters, etc anything by the Clash. Search Clash City Collectors & enter search in search box. Place, venue, etc
Clash on Parole- excellent Facebook page - The only page that matters Search Clash on Parole & enter search in the search box. Place, venue, etc
Clash City Snappers Anything to do with The Clash. Photos inspired by lyrics, song titles, music, artwork, members, attitude, rhetoric,haunts,locations etc, of the greatest and coolest rock 'n' roll band ever.Tributes to Joe especially wanted. Pictures of graffitti, murals, music collections, memorabilia all welcome. No limit to postings. Don't wait to be invited, just join and upload. Search Flickr / Clash City Snappers Search Flickr / 'The Clash'
Search Flickr / 'The Clash' ticket
I saw The Clash at Bonds - excellent Facebook page - The Clash played a series of 17 concerts at Bond's Casino in New York City in May and June of 1981 in support of their album Sandinista!. Due to their wide publicity, the concerts became an important moment in the history of the Clash. Search I Saw The Clash at Bonds & enter search in red box. Place, venue, etc
Loving the Clash Facebook page - The only Clash page that is totally dedicated to the last gang in town. Search Loving The Clash & enter search in the search box. Place, venue, etc
Blackmarketclash.co.uk Facebook page - Our very own Facebook page. Search Blackmarketclash.co.uk & enter search in red box. Place, venue, etc
Search all of Twitter Search Enter as below - Twitter All of these words eg Bonds and in this exact phrase, enter 'The Clash'
BBC Radio London radio interview (2003)
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BOOK EXCERPT The Clash at the Royal College of Art, 1976 Author Jon Savage recalls this seminal night in punk history, noting that he personally taped The Clash's set at the RCA - though he wasn't the only one. The book contextualises the gig within the larger birth of punk in Britain and highlights the sheer intensity of that performance.
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The Official Clash 
Clash City Snappers
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