Here is a list of known articles around the time of the tour. If you know of anything that is missing please do let us know.



UK Articles

International Articles

Snippets

Fanzines

Adverts

Feature Magazine retrospectives

Audio-Video

Photos




Sounds magazine's review of London Calling

John Heston - It is definitely 1979 as it was used as an accompanying photo in Sounds magazine's review of London Calling. Photo taken by Pennie Smith in Mick's nan's flat.

The Clash Official | Facebook





Daily Mirror, Big break for Bobby's Dazzlers

Tuesday 14th August 1979

BEING a new young pop star is little better than being on the dole, says Bobby Harper of The Dazzlers. "No one will believe how tough the business is these days," says Bobby, 22.

Bobby started playing guitar after he quit school with eight O-levels to work in a bank. Then he left the bank, went to college and played bass wtih Mark Knopfler's pre-Dire Straits band. From there he played drums with The Clash and went on to lead guitar for U.K. Subs, where he teamed up with bass player Steve Slack.

"Steve and I decided to form our own group along with Dave Modesty. We needed a singer and held auditions in my living room. That's how we found Keith Wild."

The lads' first singie inspired Tommy "Ramone" Erdelyl. He flew over from America to produce The Dazzlers' debut album, "Feeling Free."

The LP is due out in October, and the title track is released as s single this week at the start of The Dazzlers first tour, which begins in Birmingham on Saturday.

Bobby says: "We are simply a modern beat group certainly not punk or new wave."

At last The Dazzlers have their chance to shine.

Link or full page





NME Thrills, Carry on Joe!

5 May 1977

Link




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Sounds, Punk was about to change

14th July 1979 - 4 pages

Archive PDF or Archive PDF or Archive PDF

An article on The Clash by Dave McCullough and Garry Bushell





NME, Yes, It's Strummer in the City

30 June 1979 - 4 pages - Archive PDF

Strummer Interview





Daily Mirror, Clash, bang, wallop!

7 May 1979, by NOREEN TAYLOR, DM-7 MAY 79

Link or Link or Link

Clash, bang wallop!

How a brash new band is making waves

THE throne of rock stands empty. Sid Vicious is dead, the Stones are senior citizens and The Who are history.

New kings will be crowned in the eighties.

And in the wing four men, Joe Strummer, Mick Jones , Paul Simenon and Nicky Headon – The Clash.

On stage they are brutal and brilliant. Off stage they rebels who raise two are the fingers to everyone except their audience – the kids.

They believe they'll get away with it as well.

They formed in London In 1976 now after their second album, ‘Give 'Em Enough Rope,’ the American and British critics are calling them the best new rock band in the world.

Despite these accolades. The Clash are to make it hard for the kingmakers.

I talked to the two writers of the band, Jones and Strummer. No hotel suites or plush offices for Clash interviews. Instead a small, crowded sandwich bar.

Game

They came in, draped in leather, ordered banana milk shakes and gave a run-down on how not to play the fame game.

Strummer, the vocalist who acts and talks like a said: Cockney Bogart, said: "We won't do Top Of The Pops or any other show on British television. They are all rubbish old men's ideas of how pop shows should be run.

"It means not not bending over backwards to please America like most Brit bands do when they get there. And it means not selling out, like everyone who's made it, by buying white Rolls-Royces and mansions."

The Clash take their firm line seriously. On their recent sell-out tour of the States they snubbed fifty record re chiefs who had flown into Los Angeles to have their pictures taken with the band.

Mick Jones explained: "We felt we were being pushed around, so we told them to push off.

If you don't you end up as part of middle America playing business conventions.

"We're reacting against that world. The world that produces films like Sgt. Pepper and groups The Bee Gees.

"They are the people who were making music so boring before bands like us came along and changed it.”

Power

"Pop shouldn't be safe and secure. Kids don't want that any more.”

Like all good heroes, The Clash sell philosophy as well as records. The words of one of their songs say:
Don't complain about your useless employment,
Jack in forever tonight,
Or shut your mouth and pretend to enjoy it
Think of all the money you've got.

Mick said: "If we've got power then we'd better be sure we're doing some good with it.”

"If kids are unemployed, or if they're stuck in boring jobs with at night nowhere to go at night, then they should be asking questions and doing something to change things.”

(ON THE WAY UP: Joe Strummer)

"What we're saying is don't take all the s that's thrown at you."

"There's more to life," said Strummer, "than trying to get in the top ten. We want our songs to help people protest and rebel.”

The Clash make their own protest by doing benefit concerts for Rock Against Racism, and other causes in which they believe.

Surprisingly for a rock band, that includes fighting sexism.

Mick said: "None of that sexy macho stuff for us. That's not our image. There are enough self- indulgent bores around doing that already."

As they stood to leave, I asked if they were really as hard as their image.

"Who me?" said Mick. "I give me gran chocolates on Mother's Day.

They reached the door and a young kid, who had been watching them intently from the corner of the cafe, darted to the table.

He lifted Strummer's milk-shake straw and placed it lovingly in his pocket.

Riva Records, 1979.







Live and Liveley

2-page UK mag annual feature THE CLASH JAM VIBRATORS GENERATION X

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Sounds (Germany) magazine

3 March 1979

Archive PDF






Sounds (Germany) magazine

The Clash, April 1979 - Archive PDF

SOUNDS, The Clash - translated (google)

As if a director had gone mad and shot a comic version of Orwell's "1984", The Clash, the heralds of the "White Riot", stomped through contemporary events; here a little visit to the front in Belfast, there a dangerous water pistol fight with harmless civilians and always the big saying about "we're the street fighting men" on their lips. This time too, it's worth listening to Tony Parsons' mocking song.

The Clash released a series of singles, all of which were probably shaped by the problems that arose from the feeling of having failed both artistically and commercially: "Clash City Rockers" followed "White Riot", "Remote Control" and then "Complete Control", after which came "White Man In Hammersmith Palais", their only reggae song. They were still a long way from even thinking about producing a second album. One reason for this was that they had decided not to work with the producer of their first LP, Mickey Foote, again, because CBS felt that the sound he had achieved was far too rough and unpolished to be able to release the record on the lucrative US market.

Initially, they had agreed to work with Foote because they felt he understood the band. All of the well-known producers who had tried to work with them during their time at Polydor Studios had been trying to give them a softer, smoother sound, to take away some of their hardness, their punk feel, and to influence Strummer to pronounce the words correctly and not to mumble so much. The Clash did not like this kind of influence. But then CBS became very firm and demanded that a famous producer make the second album. They gave the Clash that short list of CBS producers. And they meant it. You want to get rich, don't you, guys? You want your product to be released on the American market, don't you, guys? The Clash agreed... Yes, yes, yes.

I don't actually think the USA is that bad, when I think about it...

But then there was another problem: material. They had actually exhausted their themes. They had to come up with something new. And this new thing had to work. That's the bad thing about being so close to fashion: you get old-fashioned very quickly. Photo: Elaine Bryant/LFI

They try to rationalize the problem.

Strummer: I'm very defensive when I'm confronted with this political stuff. We see it as a trap, a pit that we're supposed to fall into. We want to move in any direction that suits us, even in a political direction. But when everyone says: Ah, you're political, then of course you say: Fuck it, kiss my ass, I'm going to go out and get drunk for seven days and nights and then I'm going to get my head full (a massive heroin trip) and then I'm going to cross the street and fall into the canal. Kiss my ass with your ideas. No problem. We move in any direction that suits us...

Meanwhile, behind the scenes, CBS insisted on "depoliticizing" the Clash, not realizing that if the Clash did come out with their thin-blooded, rhetorical material again, they would become the object of general ridicule and thereby pass their own death sentence - a fact that the Clash had understood many moons ago.

When CBS came up with the depoliticization, the Clash played a prudish act, which was a bit like Linda Lovelace playing a chaste, blushing little virgin who had never been touched by a human hand.

It took a while to persuade them, but they finally persuaded them.

The Clash were as political as Al Jolson was black. They just realized that it was in their interest to smear themselves with makeup before they could face the glare of the limelight.

It must be said that for many young people in England the period from the second half of 1977 to the present was perhaps the most politically active period of their lives. In August 1977, 3,000 anti-Nazi demonstrators fought a vicious street battle in Lewisham, South London, with the neo-Nazi National Front party, which was rapidly gaining ground in local elections. It was a brutal battle, acid was thrown at the 4,000 police officers separating the two rival groups (a third of the capital's entire Metropolitan Police Force was deployed that day), and when it was all over and the smoke cleared, the riots were described as the worst London had seen since the Second World War. And they gave the young, dissatisfied people who had seen punk as an outlet for their social frustrations a tangible target for everything that was wrong in the world - the neo-Nazis of the National Front. It became essential for bands to stress their anti-NF stance in interviews. Of course, none of the bands were at Lewisham; they only turned up later and gave free anti-Nazi concerts, when punk troops were being mobilized by the far left in England. The day before Lewisham, I called the Clash and asked Bernie if they were coming. "We'd really like to," said Rhodes. But we've got other commitments. Sorry." Click.

The guys couldn't come to play.

White Riot in the nose For those who were really involved, politics soon became a bitter experience (and it is pure irony that these children, as they put themselves at risk of having their faces smashed open by Nazi stones, boots and knives, were singing Clash songs. It was heartbreaking. Especially if you were one of the children yourself), and it became increasingly clear that the left was using the youth music movement in general and punk in particular for its own "revolutionary" goals. They didn't understand anything, squeezed the last drop out of everything, and were always completely intolerant of any alternatives unless they were in line with their party line.

47

SOUNDS

The Clash

Als hätte ein weggetretener Regisseur eine Ulk-Version von Orwells,,1984" gedreht, so stiefelten The Clash, die Herolde des, White Riot", durchs Zeitgeschehen; hier 'n kleiner Frontbesuch in Belfast, da 'ne gefährliche Wasserpistolen-Schlacht mit harmlosen Zivilisten und immer den dicken Spruch vonwegen, wir sind die street fighting men" auf den Lippen. Auch diesmal lohnt's sich, Tony Parsons Spottgesang zuzuhören.

D ie Clash brachten eine Reihe von Singles heraus, die wohl alle von den Problemen ge prägt waren, die sich aus dem Gefühl ergaben, sowohl künst lerisch wie kommerziell versagt zu haben: Clash City Rockers" folgte auf White Riot", Remote Control" und dann Complete Control", danach kam,, White Man In The Hammersmith Palais", ihr einziger Reggae-Song.

Noch waren sie weit davon entfernt, auch nur daran zu denken, ein zweites Album zu produzieren. Ein Grund dafür war auch, daß sie sich entschlossen hat- ten, nicht wieder mit dem Produzenten ihrer ersten LP, Mickey Foote, zu arbei ten, weil man bei der CBS der Ansicht war, daß der Sound, den er realisiert hatte, viel zu grob und ungeschliffen war, um die Platte auf dem lukrativen US-Markt veröffentlichen zu können.

Anfänglich hatte man sich geeinigt, mit Foote zu arbeiten, weil man das Ge fühl hatte, er verstünde die Band. Alle jene Produzenten mit bekannten Namen, die während der Zeit in den Polydor Studios versucht hatten, mit ihnen zu arbeiten, waren darauf ausgewesen, ihnen einen sanfteren glatteren Sound zu verpassen, ihnen etwas von ihrer Härte, ihrem Punk-Feeling, zu nehmen, und Strummer zu beeinflussen, die Wör- ter richtig auszusprechen und nicht so zu nuscheln. Den Clash gefiel eine der artige Einflußnahme nicht. Aber dann wurde man bei der CBS sehr bestimmt und verlangte, daß ein berühmter Produ- zent das zweite Album machen sollte Man gab den Clash jene kurze Liste

von CBS-Produzenten. Und man meinte es ernst. Ihr wollt doch reich werden, Jungs, oder? Ihr wollt doch, daß euer Produkt auf dem amerikanischen Markt veröffentlicht wird, oder, Jungs? Die Clash stimmten zu... Ja, ja, ja.

So beschissen find ich die USA ei- gentlich auch nicht, wenn ich mir'srecht überlege....

Aber dann gab's da noch ein anderes Problem: Material. Sie hatten ihre The men eigentlich erschöpft. Sie mußten sich was Neues einfallen lassen. Und dies

Neue mußte auch hinhauen. Das ist eben das Schlimme, wenn man haarscharf in der Mode liegt: man wird sehr schnell altmodisch.

Foto: Elaine Bryant/LFI

SOUNDS

Kollision mit der Wirklichkeit oder bei schlechtem Wetter findet der Aufstand im Studio statt ** Teil2

Dann erwischte es Joe Strummer so schlimm, daß er ins Krankenhaus mußte. Nein, nein, nicht weil die Bullen ihn zu sammenschlugen oder er etwa Opfer einer CIA-Verschwörung wurde. Nein, jemand hatte ihn angespukt.

Als es unter den Punks zu den guten Sitten zählte zu rotzen (d.h. zu spucken, entweder Bier oder tatsächlich Rotze), hatte Strummer unfreiwillig etwas ge- schluckt, das ihm eine Gelbsucht be scherte.

Und äußerte sich dazu: Is 'ne Menge Rotze in der Luft. Und ich will bestimmt nicht sagen, daß es besonders gesund ist. Und darum lieg ich hier im Krankenhaus. Ich bin näm lich kein Junkie. Also, entweder ist man Junkie oder man hat Toilettenbecken ausgeleckt oder so oder man ist stunden- lang von allen möglichen Leuten ange- spuckt worden, und das in ganz Groß- britannien. Und in Europa. Und in Ir- land. Mir hat einer mitten auf der Tournee so einen gelben Omnibus in den Hals gerotzt. Und ich hab's so einem Typen in einem Pub erzählt, und der sagt, ein Polizist bei einem Fußball- spiel, dem haben sie auch so richtig in die Fresse gerotzt, und drei Monate später ist er dann abgekratzt an einer Krankheit, die mit T' anfängt. Aberich hab' mich geweigert, das zu glauben." Strummers Krankheit war jedenfalls der Grund, warum die Band nicht mit jenem amerikanischen Produzenten ins Studio gehen konnte, den man aus der kurzen CBS-Liste ausgewählt hatte: Sandy Pearlman, zwergenwüchsige Mas termind hinter Blue Öyster Cult.

Ich glaube", sagt Mick Jones, Sandy sieht in uns die düstere Seite des Rock'n 'Roll. Kommentiert Pearlman: Die Songs von Clash haben wirklich echt subversive Qualitäten ich werde sie so aufbereiten, daß sie sich in Ame- rika verdauen lassen..."

Eigentlich hörte sich der Plan per fekt und einleuchtend an. Pearlman hatte den intensiven (wenn auch abso lut sinnlosen) Symbolismus von Blue Öyster Cult zu Breitwandformat aufge blasen, und die waren eine Bande lang haariger bärtiger Hippies, die noch vor ein paar Jahren Blumen in den Haaren und Räucherstäbchen im Arsch hatten. Die Clash hatten jede Menge Rohmate- rial. Pearlman mußte es nur richtig verpacken.... Offensichtlich machte der Widerspruch

zwischen den Clash als marktbewußte professionelle Entertainer und als radi kale Politikos, die mit redlicher Schön- rednerei gegen die Mauern von Babylon anheulen, es den kritischen Mitgliedern der Gruppe schwer, ein klares Bewußt sein zu bewahren. Sie versuchen, das Problem zu rationalisieren.

Strummer: Ich verhalte mich sehr defensiv, wenn ich mit diesem politi- schen Zeug konfrontiert werde. Wir sehen das als Falle als Grube, in die wir stürzen sollen. Wir wollen uns be- wegen in jede Richtung, die uns in den Kram paßißt, auch in eine politische Richtung. Aber wenn alle sagen: Ah, ihr seid politische, dann sagt man na- türlich: Verdammt, leck mich am Arsch, ich geh 'raus und besauf mich sie ben Tage und Nächte lang und danach knall' ich mit den Schädel voll (ein sat- ter Heroin-Trip) und dann geh ich über die Straße und fall in'n Kanal. Leckt mich am Arsch mit euren Ideen. Ge schenkt. Wir bewegen uns in jede Rich tung, die uns in Kram paßt...

Derweil bestand CBS hinter den Ku- lissen auf eine Entpolitisierung" der Clash, ohne sich vorzustellen, dafs die Clash, sollten sie tatsächlich wieder mit ihrem dünnblütigen, rethorischen Material rauskommen, zum Gegenstand des allgemeinen Gespötts werden und damit ihr eigenes Todesurteil fällen wür den eine Tatsache, die die Clash schon vor vielen Monden kapiert hatten.

Als CBS mit der Entpolitisierung kam, machten die Clash auf prüde, was ein wenig an eine Linda Lovelace erinnerte, die eine keusche, errötende kleine Jungfrau spielt, welche noch nie von einer Menschenhand berührt worden ist.

Es dauerte zwar etwas, bis sie sich breitschlagen ließen, aber schließlich ließen sie sich breitschlagen.

Die Clash waren so politisch wie Al Jolson schwarz war.

Sie schnallten lediglich, daß es in ihrem Interesse war, sich ersteinmal mit Schminke einzuschmieren, ehe sie in den grellen Schein des Rampenlichts traten.

Es muß gesagt werden, daß die Zeit von der zweiten Hälfte 1977 bis heute für viele junge Leute in England die viel- leicht politisch aktivste Zeit ihres Lebens war. Im August 1977 hatten sich 3.000 Anti-Nazi-Demonstranten eine wüste Straßenschlacht in Lewisham, South London, mit der Neo-Nazi-Par- tei National Front geliefert, welche in Kommunalwahlen rasch an Boden ge- wann. Es war eine brutale Schlacht, Säure wurde auf die 4.000 Polizisten geworfen, die die beiden rivalisieren- den Gruppen trennten (ein Drittel der gesamten Metropolitan Police Force, über die die Hauptstadt verfügt, war an jenem Tag aufgeboten), und als alles vorbei war und sich der Rauch verzog, wurden die Ausschreitungen als die schlimmsten bezeichnet, die London seit dem Zweiten Weltkrieg erlebt hat- te. Und sie gaben den jungen, unzu- friedenen Leuten, die Punk als Ventil für ihre gesellschaftlichen Frustratio- nen gesehen hatten, eine greifbare Angriffsfläche für alles, was verkehrt war in der Welt die Neo-Nazis der National Front. Es wurde für Bands unerläßlich, in Interviews ihre Anti- NF-Haltung zu betonen. Natürlich war keine der Bands in Lewisham, sie tauchten erst später auf und gaben gra- tis Anti-Nazi-Konzerte, dann nämlich als von der extremen Linken in England Punktruppen mobilisiert wurden. Am Tag vor Lewisham rief ich die Clash an und fragte Bernie, ob sie dabei seien.

„Wir würden wirklich gerne", sagte Rhodes. Aber wir

haben andere Ver- pflichtungen. Tut mir leid." Klick. Die Jungs konnten nicht kommen, um zu spielen.

White Riot in der Nase

Für die, die sich wirklich engagier- ten, wurde die Politik bald zur bit- teren Erfahrung (und es ist reinste Ironie, daß diese Kinder, als sie sich der Gefahr aussetzten, die Gesichter mit Nazi-Steinen, Stiefeln und -Messern aufgeschlagen zu kriegen, Clash-Songs auf den Lippen trugen. Es war herzzer reißend. Besonders, wenn man selbst eines der Kinder war), und es wurde immer deutlicher, daß die Linke die Jugendmusikbewegung im allgemeinen und Punk im besonderen für ihre eigenen revolutionären" Ziele benutz- te. Sie verstand nämlich nichts, wrang den letzten Tropfen aus jeder Sache, und sie war gegenüber irgendwelchen Alternativen sofern sie nicht auf ihrer Parteilinie lagen immer wieder abso lut intolerant.

47





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Fanzine, Career Opportunities

Link




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The Clash advert thanking the readers for voting them Number 1 band

Sounds 24th, February 1979 - enlarge image




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MOJO The Clash From Westway to Broadway

August 1994 (Bonds, US general), JS interview - 20 pages





Breakdown, retrospective and Farewell Joe

Covers November 1978 to November 1982
MOJO March 2003

14 pages





MOJO What are we going to do now?

From Xmas 1979 onwards including the bands demise

October 2004 / 7 pages





The History of Rock 1979

Online edition

April 7th A special benefit, Clash plan a gig for arrested for gig-goers page 66

Oct 6 Ready for Screening Rude Boy the Movie page 125

December 29th With their backs to the wall, The Clash The band enjoy the triumph of London Calling...,"Desperation- I recommend it" 3 pages, page 140

Letter Jam v Clash/Pistols page 145





Clash Map of London





MOJO / Punk: the whole story

Online viewer (very good)






Retropective magazine features, audio, video

For a full catalogies of retropective articles in magazines, interviews and features on TV and radio go here.










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Newcastle - Tyne Tees Studios ITV, Alright Show

Thurday 8th March 1979

From the vaults of Tyne Tees TV. Tyne Tees were the North East's (Newcastle/Sunderland) local ITV franchise, part of the ITV network supplying programmes to other ITV regions/franchises.

New original source has emerged. Alright Now TV bmc page






Ruisrock Festival

Assorted videos. See Ruisrock Festval page.





Beaufort Market

Video of Beaufort Market. See Beaufort Market page.





LONDON WEEKEND SHOW WANTED ****

Date 08/07/1979
Archive footage includes interviews with the Clash

LONDON WEEKEND SHOW PAGE





Johnny Green interviews

Johnny Green | A Riot of Our Own | Night and Day with the Clash | Rock City Networks



Ex-Road Manager Johnny Green Describes The Experience Of A Clash Performance | Classic Rock Network



Johnny Green The Clash Road Manager Gives A Reading and Q&A Session at The Ilkley Playhouse | WestRidingMedia

Johnny Green, the infamous Road Manager of The Clash, gives a reading and a Q&A session of his book 'A Riot Of My Own -Night and Day With The Clash' at The Ilkley Playhouse as part of the Ilkley Literature Festival 2011. Sorry about the quality but I was right at the back of the hall.




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   Open photos in full in new window

Bob Gruen Paul Simonon, Topper Headon, Joe Strummer and Mick Jones. Clash - Foosball Table England, 1978 BOB GRUEN




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Jun 76 - Black Swan , five piece ....

Sept 76 - 100 Club, London gigs ....

Dec 76 - Anarchy Tour ....

Jan / Mar - Early 77 Gigs ....

May 77 - White Riot UK Tour ....

Jul 77 - European Dates ....

Oct 77 - Out of Control UK Tour ....

Jan 78 - Sandy Pearlman UK Dates ....

Apr 78 - UK Festival Dates ....

Jul 78 - Out on Parole UK Tour ....

Oct 78 - Sort it Out UK Tour ....

Feb 79 - Pearl Harbour US Tour ....

Jul 79 - Finland + UK dates ....

Sep 79 - Take the Fifth US Tour ....

Dec 79 - Acklam Hall Secret Gigs ....

Jan 80 - 16 Tons UK Tour ....

Mar 80- 16 Tons US Tour ....

May 80 - 16 Tons UK/Europe ....

May 81 - Impossible Mission Tour ....

Jun 81 - Bonds Residency NY ....

Sep 81 - Mogador Paris Residency ....

Oct 81 - Radio Clash UK Tour ....

Oct 81 - London Lyceum Residency ....

Jan 82 - Japan Tour ....

Feb 82 - Australian Tour ....

Feb 82 - HK & Thai gigs ....

May 82 - Lochem Festival ....

May 82 - Combat Rock US Tour ....

July 82 - Casbah Club UK Tour ....

Aug 82 - Combat Rock US Tour ....

Oct 82 - Supporting The Who ....

Nov 82 - Bob Marley Festival ....

May 83 - US Festival + gigs ....

Jan 84 - West Coast dates ....

Feb 84 - Out of Control Europe ....

Mar 84 - Out of Control UK ....

April 84 - Out of Control US Tour ....

Sep 84 - Italian Festival dates ....

Dec 84 - Miners Benefit Gigs ....

May 85 - Busking Tour ....

Jun- Aug 85 - Festival dates ....

Sept 85 - European Tour ....

Jan 86 - Far East Tour ....

1986 onwards - Retrospective

74-76 - Joe with the 101ers ....

Jul 88 - Green Wedge UK Tour

Aug 88 - Rock the Rich UK Tour ....

Oct 89 - Earthquake Weather UK ....

Oct 89 - Earthquake Weather Euro ....

Nov 89 - Earthquake Weather US ....

Jun 99 - Comeback Festival dates ....

July 99 - Short US Tour ....

July 99 - UK Tour ....

Aug 99 - Festival Dates ....

Oct 99 - UK Tour ....

Nov 99 - Full US Tour ....

Dec 99 - European Xmas dates ....

Jan 00 - Australasian Tour ....

May 00 - Mini UK Tour ....

Nov 00 - supporting The Who Tour ....

Jul 01 - UK & US Instore Tour ....

Oct 01 - Full US Tour ....

Nov 01 - Japanese Tour ....

Nov 01 - Full UK Tour ....

April 02 - Brooklyn NY Residency ....

Jun 02 - UK Festivals ....

Jul 02 - Hootenanny Tour ....

Aug 02 - UK Festival Dates ....

Sep 02 - Japanesse Dates ....

Nov 02 - Bringing it all Back Home ....