The Clash
Music Machine Monday 24 July 1978

THE SETTING was the Music Machine for the four-day event heralding The Clash's return to London, winding up their 'On Parole' tour. There was relatively little trouble. Although I witnessed the odd mindless swipe at over-enthusiastic punters, compared to the heavies up Seven Sisters Road the security was restrained.

Monday night, and into their third number were The Specials. This Coventry outfit really are one of the freshest young bands I've seen in ages. Predominantly reggae/ska derived, their music is fast and furious, occasionally breaking into punk and R&B, blending the styles, even switching mid-song, A strong Sixties element, plus the ska numbers 'Birth Control' and a tremendous set closer of 'Liquidator'. The band's lyrics combine awareness with a sense of humour, "All you punks and all you teds, 'Do The Dog'," and the pop song for all the girls called Barbara, 'Lorraine'. Monday through Thursday, they became tighter and hotter, earnt themselves encores, and won many friends.

(Suicide, the other support band, are to be reviewed in full elswhere.)

And so to The Clash. On Monday the critical eye -and the need to make notes overpowered the ' enjoyment. But The Clash were not at their best. Joe was a bit under the weather and Paul's playing lacked fluidity, leaving Mick the Topper to hold it together. It wasn't a bad show but, by Clash standards, there was room for improvement.

Tuesday night and from the guitar harmony intro of 'Complete Control' it was obvious that the proceedings were under control, making a fiery start to the set. And on Thursday, when the bass amp packed up during the first run through, they regained their rhythm by repeating it.

Snare drum attack leads into'Tommy Gun' which, like most, features ace lead work from Mick. He really has blossomed into one of the best contemporary guitarists. 'Cheapskates' is next. Then Mick takes the mike for 'Jail Guitar Doors', which sometimes sees him dash across the stage. In fact the. whole front line interweaves wonderfully.

Into 'Drug Stabbing Time' and it's bubbling along. Topper's drumming is as precise and powerful as always and Paul is as cool as ever. 'Clash City Rockers' and 'White Man' are great vehicles for Joe, the actor, the eccentric. He goes down on his knees, flat on his back, writhes about, and penetrates all with his relentless stare.

Unfortunately string replacement and re-tuning hampers 'Capital Radio' and Mick's 'Stay Free', but by 'Police And Thieves' which segues into 'Blitzkrieg Bop' they are cookin' again. An important part of the set, it marks the start of the run-in, and was where the Thursday performance also picked up. No letting up through 'English Civil War', 'Safe European Homes', What's My Name', 'London's Burning' and 'Garageland'.

Encores are 'Bored With The USA', 'Janie Jones' and 'White Riot', and the band are joined by Steve Jones who must've enjoyed it so much he came back for the next two. Paul Cook drummed along on a second kit on Thursday whilst Jimmy Pursey added to the fun on 'White Riot' for the last two nights, -
Even on the weaker nights of the first and last, the Clash gave out everything they could. No band plays with such drive and conviction. On-Wednesday they hit their peak. It was a privelege to spend four nights . with the greatest band in Britain, nay, at this moment in time, the greatest band in the world

Choke! — Ed, The Clash.

BARRY MYERS