Clash Take the 5th Tour
Supported by The Undertones Sam & Dave
updated 10 July 2008 - punters view + Penny Smith QA
updated 28 Dec 2008 - added more venu info and photos
updated 7 Jan 2010 - added punters comments with photo
updated 12 Feb 2012 - added 4 track video
updated 4 Aug 2014 - punters comments 'Beatles are back'
updated Dec 2014 - better audio/video info
Updated July 2021 added reel to reel master
the most widely circulated Clash bootleg
The source of probably the most widely circulated Clash bootleg from the FM radio broadcast. Critical acclaim following the gig was also significant in pushing further the band's profile in the US.
WNEW FM recorded the complete concert and this high quality stereo broadcast is the source of all the recordings in circulation.
Rarely seen film footage of the clash at the Palladium in NYC, 1979
Silent video (from 8 mm film footage) by Ruby Max Fury with synched audio from bootleg recordings. See further down.
TV News report
Not had chance to investigate this but in the NME article by Paul Morley on the - 13th October 'Fastest gang in the West part 1' The article stats that the TV crew were intervewing the band. See further down.
Soundcheck
Some doubt has been cast over who is playing and when this took place. Dated as the Soundcheck of the 21st September, the tracks seem right as does the acoustics for the venue. Joe can clearly be heard singing, that there is no doubt, as to whether the lead guitar sounds like Mick's normal style is open to question but certainly the Clash songs played here have guitar fills and arrangements the same as were being played on this tour. Mickey Gallagher can be heard on keyboards. Any more information would be appreciated?
The recording, edited between songs, is not from the soundboard and is some generations back from the master. Sound does have some distortion but otherwise there is a good range of sound and clarity. All instrumentation comes through well although the bass is somewhat buried in the mix.
Bootlegs
Visit the Clash on Stage website for a comprehensive catalogue of unofficially released CD's and Vinyl.
Klashing With The Klash was the original double vinyl set in a simple brown sleeve and was very widely available throughout the 80's. It was later reissued in a white sleeve and also as a picture disc. Klashing is incomplete with 18 out of the 23 songs played and its running order is incorrect, side 1 starting with Guns of Brixton.
Track gaps have been added unnecessarily between songs losing some of the ‘live experience' and the drama of the performance, e.g. Career Opportunities blasting out of the hanging last notes of Armagideon Time. Strangely Career Opportunities is edited losing a chorus and part of a verse. It also loses many of Joe's between song introductions. Sound quality though is excellent, warm, crisp and with little distortion.
In 1990 Great Dane of Italy issued The Guns of Brixton CD. This has all 23 songs in the right order and has the best sound quality, just edging past Klashing having greater stereo separation (two guitars split between the two channels) and a touch better clarity and detail.
Money Made Us Flexible and Live USA CD's are both incomplete with lesser sound.
The most interesting recording is the complete unedited WNEW FM broadcast with radio comments before the set, before the encore and after the set. It runs some 6 minutes longer than any other, also has an excellent sound, though not as good as Klashing/Guns of Brixton. It is one or two generations away from the master but both it and Guns of Brixton come from this source as they shares the same wide stereo separation unlike Klashing.
Although the FM recording resulted in a high quality of sound, its not one to suit all tastes, vocals are high in the mix and the Palladium seems to emit a kind of pseudo echo effect like that of a very large hall. More significantly Mick's use of effects boxes are even more apparent in this concert than elsewhere on the Take The Fifth Tour and this does blur the tone of his guitar losing some of its impact and edge. Mick was no doubt keen to impress the New York musicians and critics with his musical sophistication.
Bootleg details can be found here
Visit these websites for a comprehensive catalogue of unofficially released CD's and Vinyl (forever changing) or If Music Could Talk for all audio recordings
Using a silent video (from 8 mm film footage) uploaded to Vimeo by Ruby Max Fury, Clash fans synched audio from bootleg recordings to the film to re-create a sense of what it was like on the night of September 21, 1979 when the The Clash invaded New York City. The second night of a two night stand at The Palladium, this was the show where Paul Simonon made rock history when he smashed his guitar to the stage and Pennie Smith took the iconic photo that graced the cover of London Calling.
In February of ‘79, I was in the audience for The Clash's NYC debut. Standing in the swaying balcony and watching the The Clash pummel and strafe the audience with rock so hard you could feel it in your guts, I knew instantaneously I was witnessing a band for the ages. If there had been any doubt that punk bands could play their instruments, The Clash crushed that myth beneath a barrage of tight visceral beats and lacerating guitars. It was epic. And it was very very good.
The Clash at the New York City Palladium performing the songs I'm So Bored With the U.S.A., I Fought the Law, Jail Guitar Doors, and English Civil War. It is only short clips of the songs but great nonetheless. This concert was the same night Paul Simonon smashed his favorite bass guitar thus creating one of the greatest moments in rock and roll history ever captured, seen on the album cover of London Calling, and taken by photographer Pennie Smith.
Writer Tom Carson described The Clash live sound beautifully:
"The musicians' confidence was evident at every turn. Lead guitarist Mick Jones and bassist Paul Simonon leaped around as if no stage could hold them; Nicky Headon's drums cracked through the music with the authority of machine-gun fire. The group's perfect ensemble timing - the two guitars locking horns above the percussion; the way Jones' ethereal, incantatory backup vocals filled the gaps in Joe Strummer's harsh leads - went beyond mere technical mastery; it was audible symbols of the band's communal instinct. "
A sublime slice of rock history.
DrugStabbingTime : The Clash - 1979-09-21, at the New York City Palladium performing the songs I'm So Bored With the U.S.A., I Fought the Law, Jail Guitar Doors, and English Civil War.
It is only short clips of the songs but sweet nonetheless. This concert was the night Paul Simonon smashed his favorite bass guitar thus creating one of the greatest moments in rock and roll history ever captured, graced on the album cover of London Calling, and taken by photographer Pennie Smith.
The original source of this video was a silent Super 8 film camera. I layered the audio over it and hastily synced it together. Better transitioning and syncing coming soon.
Better transitioning and syncing coming soon.
*"This concert was the night after..." used to read as "the night Paul Simonon smashed his bass" but thanks to recent speculations from Dave Marin, and other fans who went to the show on the 20th, we now know that the bass smash happened on the previous Palladium gig. Dave's video: Dave Marin's London Calling Bass Smash Photo
4 Track video - Silent video (from 8 mm film footage) by Ruby Max Fury with synched audio from bootleg recordings
Video Perfectly synched audio from bootleg recordings to 8mm film with snippets of;
I'm So Bored With the U.S.A
I Fought the Law
Jail Guitar Doors
English Civil War
TV News review
Not had chance to investigate this but in the NME article by Paul Morley on the - 13th October 'Fastest gang in the West part 1' The article stats that the TV crew were intervewing the band. Youtube.
For more details on the 1980 Lifetimes TV news broadcast go to the 7th March 1980
Two Nights at New York Palladium
Bob Gruen - Boston 1979 and a picture of Joe Strummer giving a few dollars to a homeless guy in New York
Timmy Collins - Facebook - Strummer night in aid of the Cathedral Archer Project at the mulberry tavern SHEFFIELD 17th December. I asked a friend of mine Bob Gruen to donate a print for the auction and he very kindly sent me 2 signed prints. The Clash in Boston 1979 and a picture of Joe Strummer giving a few dollars to a homeless guy in New York. These sell for $500 each and will be available to bid for at the gig. They come with all the official paperwork and will be framed too. Get bidding and on the night drop your Cocks and bring some Socks !
Melody Maker : Clash in NYC- Waiting for Ivan
6 Oct 1979, Mary Harron
MARY HARRON
Clash in NYC- waiting: for Ivan
ACCORDING to reports, it / was a hot. dead, airless summer in New York City. With nothing much happening on the local music scene, excitement centred on the English visitors. The Gang of Four were ecstatically received, scoring over the Buzzcocks, while Eddie and the Hot Rods -found a kinder welcome than they do at home. And when: the Clash arrived in town last week they were heralded in the Village Voice as "the most intense rock and roll band in the world".
Supported by the Undertones and Sam and Davie, the Clash sold out. the Palladium, as they had several months before. The Palladium is an old converted theatre; in commercial terms it stands half-way between the Mudd Club and Madison Square Garden. It's as ornate as London's Lyceum, but even sleazier Every Saturday night the 14rh Street pushers move from their usual pitch in front of the Disco Donut shop to outside the theatre doors, waiting to sell downers and questionable marijuana to the teenagers who flock in from the suburbs.
New York audiences are notoriously reserved, with the result that the Undertones almost stole the show on Thursday night and didn't realise it. Reported to be depressed by their performance, on Friday they shouted from the stage' :
"What is this, a funeral OK something?" and didn't come back for the encore they certainly deserved. Sam and Dave, who danced, sweated and crooned in a splendidly over-the-top performance, near-missed on the first night but hit on the second, with the audience dancing on the stage.
BUT it was the Clash's event, and even if they suffered from nerves or tiredness on Thursday, they had the singular achievement of keeping a Palladium audience on -their feet throughout the show. Friday night was stunning for its concentration, energy and high-spirited attack. Whatever they were in the beginning, they, now embody a modern version of -Fifties rock 'n' roll glamour- For many of the audience, they are simply a new kind of rock star.
Backstage the security force were guarding the door as if they were Kiss — no reflection on the group, just" house policy. "Youse can't come in here. understand — SO GET DOWN THOSE FUCKING STAIRS!" one of them shouted at Johnny - Ramone, who curled up shyly in the doorway, like a fern. In the dressing room the Clash signed autographs, submitted patiently to questions from people they didn't know and were filmed for television. Finally Mick Jones refused to do any more interviews:
'I can't talk now, I'm going through a transcendental phase." :
In a corner Joe Strummer was losing his voice. He said he felt happier with this tour than the last. "I think we're playing a lot better — more people are coming, which makes you feel like giving ,more. You feel less irrelevant,'' He admitted to be being depressed by "the behaviour of the bouncers on this tour: in Boston a girl was beaten up and pushed down the stairs. "During the 'Boston show they were punching people all over the hall. We stopped the show and said where's the promoter? And he weren't there, he'd run off like they all do. That's one area we just haven't got .control over yet."
Strummer insists the tour isn't making them money so far. "We— had to borrow $20,000 from Epic records to fund the tour, and it was hard enough getting that out of them.- They come and shake our hands and smile and say 'Great show, boys!' but they should make with the cheques. They should give us a hand — it's a costly business, this. We're staying at the Empire, which is the worst hotel in New York. You go in the shower and the wall falls on your back."
What about American audiences? "I always get tongue-tied when people ask me that. Because once I'm on stage and the lighting guy hits me with a hundred white lights, I don't know what country I'm in. As for seeing the cities — we've been three days now and played two shows and my taste of New York is 25 minutes standing on a corner in the rain eating a pizza. with a take-out coffee. Watching people go by, you know? I was standing by a phone booth and it started to ring. I walk over and pick up the phone and this guy asks to speak to Ivan. So I'm standing on the corner shouting Ivan! Ivan!' at the top of my voice — ruining it for the show — and no Ivan comes. So I say There ain't no Ivan', and he says "Thanks a lot'. And that's my experience of New York."
WITH what could have been wishful thinking, Strummer said he thought the American audiences appreciate the political content of the Clash's songs. "Even though America has cooled down a lot since all that turmoil in the Sixties, I think there are a 'lot of people who are willing to get on the street and fight for what they want. Even more so than in Britain, This is backstage at the Palladium, "but tomorrow we'll be rolling down the turnpike through all the burnt-out areas of Philadelphia. We think of America as this middle class place with everybody stuffing themselves, but a quarter of the population live in places that are Just like the Gorbals."
He fell silent and looked like someone who had had to answer too many questions. "I'm not into lying on a bed with a mirror and a razorblade. I'm not into it. I. just want to have a cup of coffee and a pizza on the corner while I think about things. And that's how I'm looking after that show, you know?" —
The 3,800 seater Palladium on New York's 14th Street was an old converted theatre, as ornate as London's Lyceum but sleazier with drug pushers plying their trade outside. Thanks to Sukwoon Noh (it was his first Clash gig) for providing the following recollections of the Palladium;
You can see the ol Palladium inscription in the left photo above the montage on the facia.
"In the 70's and 80's the Palladium was THE place in NYC. That's where all the great new wave bands played. I saw the Jam, Joe Jackson, Ramones, David Johansen and few others. It was essentially a movie theater converted into a concert hall.
Main floor and the second level called the loge. It has since been demolished and in place stands a high-rise. The street level is now an electronic store called 'PC Richards' and the upper levels belong to NY University's dormitory. Only 1 block away from the Irving Plaza [where Joe played with Meskies in 99 & 2001]"
Then and Now
The Academy of Music otherwise known as The Palladium
It's a more interesting recording than it should be. The first 2 songs and Clash City Rockers are played the same as if in performance but with no singing. The absence of vocals though allows the musical detail in the songs to come through with all Mick's guitar licks and fills clearly heard.
The songs stand up as music alone and are an enjoyable listen. Joe can be heard way back in the mix on Capital Radio and as the "straight" version finishes the band get into a jam on the song based on the part of the song where often Joe would improvise new words e.g. "the drummers in the box office.."
The most interesting songs are the non Clash songs. The first is a loose cover of the r'n'b standard by Big Joe Williams; Baby Please Don't Go. Its played in the style of Van Morrison's Them version, Joe of course covered Van's Gloria in the 101'ers. Joe's sings this song with some enthusiasm but its more of a jam and is interesting as a rare Clash performance but has little merit of its own.
The last track though is very enjoyable; The Clash's take on Roadrunner by Ellis McDaniel a.k.a Bo Diddley has some great guitar by Mick (presumably) and Joe gets into the vocals.
The gig
The complete WNEW broadcast begins with the radio announcer setting the scene and concludes with "..it is rude, it is crude, but its great rock'n'roll". Frank Sinatra sings High Hope's before The Clash hit the stage, the announcer and everyone else wondering why! Guns of Brixton CD begins at this point as Sinatra's voice fades out and Mick's lead guitar blasts out loaded with effects but it's a powerful tight performance with Joe intense and clearly up for the occasion. I'm So Bored with the USA and Complete Control follow without a break the latter superb with Mick's solo cutting like a knife.
Joe "I think we're all on the radio now, has everyone got good eyesight, there's a line in this number which is entitled all that phoney Beatle mania has bitten the dust.." As Joe spits out "bitten the dust" with venom the band launch into London Calling, maybe THE highlight of the night; tight, together, Joe fired up and Mick's guitar sounding like supercharged switchblades as Ira Robbins put it. Joe clearly sings "the midnight shutdown and I ain't had enough, referring presumeably to London's pub licensing hours. Why with London Calling supposedly in the can is Joe still singing this line in place of the recorded "truncheon swing" line? The song ends with Joe singing the complete line," never felt so much like singing the blues".
White Man In Hammersmith Palais gets in a great danceable groove with Joe and Mick trading lines and Joe adds "punk rockers way back home they don't know anything but they're very, very busy fighting under the lighting" Joe intros Koka Kola by having fun with being on the radio; "now its time for a word from our sponsors and station identification, this is Radio W.S.H.I.T coming from New York City and the makers of Coca Cola would like to announce.." As Joe shouts "Hit the deck" Topper's drum rolls thunder into I Fought The Law; a great rock'n'roll moment. The crowd roar their approval.
Jail Guitar Doors is another highlight (especially the final codas) and then its Paul on the excellent early arrangement of Guns Of Brixton (a song that would under go a number of changes in future tours).
Joe then gives an amusing introduction to English Civil War fortuitously aided by one Johnny Green i.e. When Johnny Comes Marching Home; "We'd like to do away with the Ted Nugent aspect of it a minute, don't worry Ted will be on in a minute! (referring to the negative response in Detroit to Mick playing an acoustic ) he's got this here (acoustic guitar) cos we're trying to do this American number. This song was written by your forefathers and not a bad little number either, gaffer tape, here comes Johnny Green with the gaffer tape, gaffer tape quick, here comes Johnny Green with a gaffer tape, and he's a little too late, you're always too late Johnny!" Its played as a folk song giving it an interesting new dimension and changes the pace of the set before normal service is resumed with the power chords of Clash City Rockers blasting over the audience. Mickey Gallagher plays unannounced mid song before Joe introduces him before Stay Free "Its Mickey Gallagher of the Blockheads, Alright we can't play Gates of The West as it's a bit..(complicated?)". Mick played an old hollow body electric on Stay Free which gives a different sound but one that loses much of the guitar edge of the song and especially the ending coda.
Mick introduces a brilliant Clampdown with "um all these guitar swops, not as many as Rick Neilsen yet!" The song gets into a great loose rhythmic jam with Mickey's organ heard to good effect but the song needs the ending worked up for 16 Tons tour to give it a fitting climax.
Joe's introduction to Police & Thieves is the only section of the set not fully included on Guns of Brixton. The complete broadcast has "hey, now's the time, this here is your chance, you give it to me now, listen to this oooh, oooh" as Joe's screams herald the crashing drum intro to the song. Police and Thieves is another highlight with great guitar work from Mick and Mickey's organ does add to the enjoyment of the song. This broadcast is probably the best sounding source to judge the contribution of Mickey Gallagher to The Clash live sound during his time with the band. It's a matter of personal opinion but his contribution is probably superfluous on most songs but does contribute to others.
The Klashing LP side of Police & Thieves and Capital Radio was the most played of the four on many a Clash fan's turntable and for good reason. Joe's introduction to Capital Radio is memorable too; "Shush! Pick it Mick, soft Mickey, I hope you all know about Junior Murvin, I tell ya you should hear Junior Murvin doing that tune, Junior Murvin can sing in a voice as high as that roof, he sings it like Police (Joes best falsetto) simmer down control your temper, ah ooh ah ooooh …" Capital Radio then explodes shredding the Palladium audience and still makes the hairs on the back of your neck stand up today! Joe sings mid song "if you wanna hear a record you ain't got a hope (dropping Aidan Day line, Capital Radio DJ unknown to US audiences and now producing unintelligible literary dissertations on Dylan lyrics!) and all the DJ's are smoking dope….sorry mate we don't play rock'n'roll records on this here station, and since I am the DJ on this here Capital Radio, I would like to tell you a few of our station rules. No.1 we allow no rock'n'roll, No.2 we allow no rock'n'roll, No.3 we allow no rock'n'roll, No, 4 yep no rock'n'roll what- hey man, fuck you man", Topper's drum rolls and the songs crashes into its seismic conclusion. Superb.
Tommy Gun next and the spotlight falls literally on Topper "Now who do you think this is going to suit, we'll see him in a minute, when the lights hit him". Fine performance, which doesn't quite ignite. Wrong ‘Em Boyo is a definite highlight though; Joe bashing out the intro on his primitive sparse sounding Chuck Berry style rhythm guitar and then Mick comes in with his effects loaded lead guitar. One of the contrasts of style of course that made The Clash so special. It's a great performance with a Mickey Gallagher organ solo, who said The Clash weren't a dance band!
Its straight into the Janie Jones and Garageland rush to the encore, both fine performances but here certainly Mick's guitar effects lose some of the impact of these punk classics. During Garageland someone grabs the mike wailing banshee like until Joe grabs it back.
On the complete broadcast recording the radio announcer now comes back on giving the correct station identification (unlike Joes's!), "If you've never seen the Clash it's an experience, I'll tell you that. I was out the front for a bit and its so loud, I‘m used to loud music but it is loud to the point of real distortion, and the people are just totally enveloped in the music, I would say the entire orchestra section which is a good part of the whole house, are all on their feet, they're dancing, they're jumping up and down and they are just totally into it, its almost an hypnotic influence that the band has over the audience"
Bass and drums then beat out the long opening to Armagideon Time, followed by Mickey's organ and then finally Joe's vocals and Mick's guitar. The long build up is more stagecraft than musical, with the house lights out and just a spotlight on Joe building the tension. Then as the last notes of the song hang in the air, Mick shouts 1-2-3-4, the dazzling spotlights shine on and Career Opportunities scorches the audience. It's another highlight then its straight into What's My Name (ditch that effects box Mick!) and Joe sings "New York, New York, Montgomery Clift, we dig Montgomery Clift". The actor getting his only live Clash credit! Topper beats out a drum pattern and then a brilliantly chaotic White Riot blasts out and yes you can hear that bass go dead at the end.
On the complete recording the announcer comes back on "as the drum sticks go hurtling out to the crowd " you can hear Mick go past him saying "bollocks, you cunt!" The announcer (now slightly embarrassed) "don't think there will be another encore, judging from the reaction out there definitely is the desire out there for another song or two" He then turns to a colleague whose response sums up the concert "got Pam Roley here, first time to see The Clash any impressions? There's a long gap until a clearly dazed voice almost lost for words says "aaaaaah I'm pretty blown away right now this was a very exciting show, …..I can't say anything…..it was great and exciting".
Second night thoughts from WNEW FM's
thoroughly uncomfortable DJ.
New York's WNEW FM was broadcasting the Clash's second Palladium night live, and had their own DJ backstage to bookend the broadcast. I've transcribed his rather nervous blather from a bootleg CD.
Second night thoughts from WNEW FM's
thoroughly uncomfortable DJ.
New York's WNEW FM was broadcasting the Clash's second Palladium night live, and had their own DJ backstage to bookend the broadcast. I've transcribed his rather nervous blather from a bootleg CD.
As the Clash are about to go on:
"You can look forward to a good hour or so of real strong rock 'n' roll. I know the word new wave comes to mind when you talk about the Clash, they certainly are a political band, yet they've recorded I Fought the Law, the old Bobby Fuller Four song, which has occupied the Top Ten in England now for the last couple of months. It seems to be a pretty popular song. (1)
"The Clash have just Clashed by me as a matter of fact (nervous laugh). It's loud, it's loud music, it is rude, it is crude but it's great rock 'n' roll, and I know you're going to enjoy it. So we'll turn it over to the stage now, where they have their own DJ, they're not using any of us, they have their own DJ, who's going to introduce one of the finest bands in England today - the Clash. (2)
"Right here on WNEW FM in New York live from the Palladium, used to be the old Academy of Music down here on 14th Street. As I mentioned, the Clash did play last night, and they're playing tonight - two-night gig. And, as you can hear in the background, Frank Sinatra, of all people, singing High Hopes. Maybe later on, we can get some kind of explanation as to why High Hopes opens Clash concerts (another nervous laugh). Let's go to the stage right now - you can hear the band tuning up. Live music - the Clash." (3)
In the break between White Man in the Hammersmith Palais and Koka Kola, Strummer takes a moment on stage to announce: "This is a word from our sponsors. A word from our sponsors and station identification. This is radio W.S.H.I.T coming from New York City!"
Before the encore.
"Live from The Palladium, the Clash, on WNEW FM in New York. Those are the proper call letters, although the Clash have been giving us (nervous laugh) a, a different title tonight. That's what it in actuality is."
As the Clash stream off stage:
"And as the drumsticks go hurtling out into the crowd, the Clash, live from the Palladium, WNEW FM, New York." (At this point we hear Mick Jones brushing by, loudly remarking "Bollocks, you cunt!" to the DJ as he passes.) "ALL-right. (more nervous laughter). You heard 'em go by. That was quite a show, quite a show. You heard about 80 minutes of music there, I hope you enjoyed it."
1) His main concern here seems to be reassuring WNEW listeners that the Clash are a successful British chart act - not the barbarian invaders they may have been led to expect. In fact, I Fought The Law got no higher than 29 in the UK charts and stayed in the Top 50 for only five weeks.
2) Ray Lowry's inner sleeve for
London Calling credits "Britain's No. 1 Deejay - Birry Myers". I assume he must have been the Clash's man in New York.
3) The Clash were clearly taking a little longer to get started than our hero had expected here. With the broadcaster's usual terror of dead air, he's desperately trying to fill. To my mind,
High Hopes is a perfect song to introduce an ambitious band like the Clash as they set about breaking America: "We've got high apple-pie in the sky hopes."
The critics, Lester Bangs, Mary Harron
Lester Bangs wrote that this gig was not nearly as technically cohesive as the February Pearl Harbour Palladium show with equipment fuck ups galore but was still great. Charles Shaar Murray (of Garageland inspiration fame), Bangs reported said, "if they get anymore professional than this, they'll turn into the Who!'
Mary Harron ‘Friday night was stunning for its concentration, energy and high-spirited attack.'
Ray Lowry‘The Clash came out and shredded the second nights audience .. with their magnificent rock'n'roll'
MELODY MAKER: Clash bites Apple
The review is from the second night. Van Gosse, the reviewer, includes What's My Name in the encores which was only played on the second night.
Paul Slade - Nielsen was guitarist with Cheap Trick. Everyone in the Clash seemed self-conscious about their growing professionalism at both these gigs, leading Jones to mock himself as he prepared to play Clampdown: "All these guitar swaps, you know. But it's not as many as Rick Nielsen had."
THE CLASH
Clash bites Apple
THE CLASH/SAM AND DAVE/UNDERTONES
Palladium, New York
First time here, in February, the Clash were merely grand. The energy was awesome but the music was more volume than anything else; in the end it was just enervating. This time round the band is tighter, fiercer and the dynamics are much more varied. Best of all, six of the 22 songs are new and these, all reggae-based, were more powerful and musically interesting than anything the Clash had yet done, eclipsing the redundancies of the last album.
The first three songs "Safe European Home," "I'm So Bored With the USA," and "Complete Control" seemed to be just the old sturm und drang. Then came something new, to do with "pseudo Beatlemania." After, Strummer waved a local tabloid, proclaiming spurious Fab Four reunion, and followed it with "White Man," yet another great new one, and "I Fought The Law."
The show never faltered from this high-point. The band had its bag of tricks ready. Halfway through the set Simonon switched instruments with Strummer and earnestly sang his own song, a chunky reggae-rocker about some Johnny who gets shot. His voice is ordinary enough, but seeing the usually hard-faced bassist open up was quite a thrill. Mick Jones topped it off by donning an acoustic guitar for "English Civil War." Next, on "Clash City Rockers," Blockhead Mickey Gallagher joined in on organ and stayed for the rest of the evening.
An anguished and violent "Police And Thieves" peaked the show; at the end Strummer stared wild-eyed at the audience. "You should hear Junior Murvin sing that song," he rasped. "The way he sings it, it's up there." He pointed to the fading dome of the Palladium, a hundred feet above his head. After that, Strummer seemed possessed, bent on making the crowd understand something, trying to break through every way he could - screaming, whistling, going into the front rows, scaling the amps and finally, on the encore, he found his moment. Simonon and Headon began an echoed dub vamp, with only a blue spotlight shining up from behind and below the drum platform. Strummer waited and then came out, grinning, from backstage, holding aloft a torch. He got up behind the drums and raised both arms, silhouetted by the spot and shaking his flame like a maddened Statue of Liberty. The crowd roared at him. He made his way to the mike, gaunt and fevered like some Hamlet among the graves, and quietly began to sing one of the new ones:
"A lot of people are gonna get it." The lights went deep red and the band hit "Career Opportunities" and "What's My Name". Then they were gone.
Some conclusions: the Clash have always suffered and transcended the lack of good drumming. Topper Headon now gets better and better. His playing on the new songs is more rhythmic and driving than ever, and he should forego the boring boom smack he still uses on the older material. Mick Jones, too, has found his own sound to complement the structured Berry riff and chopping raunch so reminiscent of a certain Elder Statesman. He phases his guitar and heavily reverbs it; the effect was very seductive on the new material, particularly when combined with the organ splashes that randomly appeared throughout the night. This is still the last gang in town, though, and any increase in musicality has only made their anger less diffuse. The Clash aren't prettier now, just better.
The Undertones played well to the 25 per cent of the audience that wasn't posing in the lobby, and Sam and Dave gave the Clash a run for their money, doing all-stops-out versions of their soul evergreens, including "Hold On I'm Coming" and the heart-rending "Something Is Wrong With My Baby." The crowd was this year's model: rich punks and metal boys from the outer boroughs looking for a band to get high to. They loved the Clash, but this band cries out for something more than adulation.
The Clash -- without whom I wouldn’t be who I am today (for better or worse) -- playing at the Palladium in New York City on September 21, 1979. My third rock concert. (And the first time I ever availed myself of a certain herbal substance, using the ticket stub as a “roach clip.”)
A little ragged at first, the band heated up and then provided a pressure-cooker performance. It’s the concert which imprinted “revolution rock” onto my neurons. (It also probably damaged some of my hearing early on, as I stood on the arm-rests of a seat near the front of the stage in front of a massive bank of speakers, howling at the music and snapping photographs.)
From left to right: the late Joe Strummer, Mick Jones, and Paul Simonon (whose image from that very same night, photographed in black-and-white by Pennie Smith, appears on the cover of the band’s London Calling album).
Although I eventually saw The Clash again with the same lineup – at Red Rocks here in Colorado in the summer of ‘82 on their Combat Rock tour – this night still remains the ultimate performance by the band for me. It’s not only the concert by which I judge the second and third times I saw the group, it’s probably the concert by which I judge all other concerts that I’ve seen since.
Not only were The Clash on that night, opening act The Undertones had a decent set, and then Sam & Dave (of "Soul Man" fame) unleashed a zestful performance.
My best to surviving members of The Clash: Jones, Simonon, and drummer Topper Headon. To paraphrase the lyrics of the twelfth song the band played that night (thanks to the outtasight site Black Market Clash for jogging my memory with background info on the concert): “If you read this blog tonight, have a drink on me. But go easy…Step lightly…Stay free.”
Posted by Gregory Daurer
Not As Good As Their First, but...,
I don't wanna brag about my punk rock "bona fides", but, well, just to brag a little, I was acutally at the Clash concert where the cover picture for this album was taken (at the old New York Palladium, since demolished for a NYU dormitory!). Of course, this album hadn't come out yet, but at that concert, the Clash did many of the songs that were featured on this album, as well as the then better known songs from their first album.
London Calling became a classic and is rightly considered so today. Still, I don't know if i'd call it "punk". The Clash were already becoming poppier by this time, which is OK. This record showed a great variety of styles (as well as a good deal of pretensiousness that overcame a lot of punk groups as they got past their first album). The Clash could pull it off, tho, unlike many of their contemporaries.
The Clash was the first punk group I ever really "got into". I found their first record, when it was still available as an import-only, in the Discomat store in Grand Central Station way back in 1978, and, along with the Stooges "Funhouse" (then also only available as an import) changed my whole way of thinking about rock & roll music. I had finally found something in the whole wretched mess of 1970s music that I could listen to. While everyone else I knew was listening to Styx, Foreigner, Toto, Boston, ELP, Yes (!!!), and I was holding my nose and trying not to puke, along came The Clash and eventually that whole long-haired mascara stained music scene went crashing into well deserved oblivion.
Eventually, I came to like other groups (Wire, Gang of Four, Joy Division, Flipper, Mission of Burma and, especially, The Fall) better than the Clash, it WAS the Clash that showed me the true path. I still consider the import version of their first album their true masterpiece. London Calling was very good, and for a while I listened to it constantly, and it is well worth buying. It is a studio album, but in a way it is such a summing up of that period, that it is almost like being there in person at a live event. Tho it is not dated, and it stands the test of time, it will still take you back to your teen age years (if you were a teenager in 1979).
BTW, the tickets for those historic Clash concerts at the Palladium cost about 10 bucks--including the teletron charges. I bought the tickets at the teletron at J&R Music world when it was still only a basement record shop, years before it became the super mega electronics and computer store it is today.
Paul Morley of the NME travels on the tour bus from Detroit on the 17th through to New York on the 21st interviewing and following the band.
DETAILS: The Scene. The Clash on tour of America. There's a glamorous image, with a confident, crusading edge to it. The Clash: a lot of hope and responsibility there. America: it still means a lot. Clash's current six week coast to coast tip to toe tour of the United States Of America is their first major assault.
The Clash: Six pages of original Ray Lowry US tour diary artwork for the 'New Musical Express',
September-October 1979, pen and ink with some collage, drawings and text, full of Lowry's wry comments on events, including: Meet the Clash at the Second Annual 'Tribal Stomp' at Monterey Fairgrounds. Saturday September 8th 1979 on the very same stage Jimi Hendrix abused with his little tin of lighter fuel all those years ago.
Ahh history, Ahh bullshit.
What had happened was that at the end of the Hendrix/Otis Festival the gates were padlocked, barbed wire was strung around the arena and armed police refused to let anyone enter or leave until yesterday - the first concert of the Clash 1979 Tour Of The Americas.
Well, naturally a lot of those inside had died, many had gone insane, thinking it was still 1967, and the really clever ones had gravitated to the backstage area where they humped masses of speaker cabinets around or listlessly pushed drum risers from one side of the stage to the other.
The musicians had all escaped in private helicopters but the more impressionable members of the audience carried on applauding and shouting ''Rart On!'' or ''Oh Burother!''at any onstage activity.
After yesterday's unlocking the first survivor to make contact with those from outside was the legendary Wavy Gravy. Still at his zingy best after so many years, he stumbled around dressed in a Santa Claus outfit and demanded the answer to the always pertinent question ''What does Diddy Wah Diddy mean?'' What a cat, huh?
When the Clash arrived to play to the dazed survivors the more lively ones gathered round to marvel at their bizarre dress and photograph these outrageous English guys hairstyles..., one sheet in two sections, the largest 10½ x 13 inches (26.5x33cm)
Footnotes: This collection was won by the vendor in a competition run by the NME (New Musical Express Newspaper).
Ray Lowry (1944-2008) was a satirist, illustrator and cartoonist. His work appeared in publications such as The Guardian, Private Eye, Punch and the New Musical Express, for whom he drew a weekly cartoon strip entitled 'Only Rock 'n' Roll'.
He had no formal art education but became known as a cartoonist in the 1970s, having contributed to the late 1960s' underground magazines, Oz and International Times. As a fan of 1950s' rock 'n' roll he was drawn to the raw energy expressed by the punk movement and attended the Sex Pistols' gig at The Electric Circus in Manchester in December 1976. There he met The Clash, with whom he became friends. He was invited to accompany them on their US tour in 1979, providing a humourous diary of the tour for the NME. It was during the tour that Pennie Smith took the now-iconic photograph of Paul Simonon smashing his bass guitar on stage in New York, the image which was incorporated into Lowry's cover design for the 'London Calling' album.
Part 1, Meet the Clash
That's Family Dog meet at the second annual 'Tribal Stomp' at Monterey Fairgrounds Saturday 8th September 1979 on the very stage Jimi Hendrix abused with his little tin of lighter fuel all those years ago. Ahh history, anh bullshit. What had happened was that at the end of the Hendrix Otis festival the gates were padlocked, barbed wire strung around the arena and armed police refused to let anyone enter or leave until yesterday, the first concert of the Clash 1979 tour of the Americas. Well, naturally a lot of those inside had died, many had gone insane, thinking it was still 1967, and the really clever ones had gravitated to the backstage area where they humped masses of speaker cabinets around or listlessly pushed drum risers from one side of the stage to the other. The musicians had all escaped in private helicopters while impressionable members of the audience carried on applauding and shouting "Far out!" or "Oh brother!" at any onstage activity.
After yesterday's unlocking, the first survivor to make contact with those from outside was Wavy Gravy. Still at his zingy best after so many years in his pert Santa Claus outfit, he demanded the answer to the always pertinent question "What does diddy wah diddy mean?" We lively ones gathered as the Clash arrived to play to the dazed survivors. The more alert peered round to marvel at their bizarre dress and photograph these outrageous English guys' hairstyles.
Well catch these yeehaw! Guys huh? And after this highpoint of cultural exchange, no nation speaking with tongue unto nation, the dozen or so stretcher cases were laid out in front of the stage and, apart from Joe Ely's set, were soothed rather than inspired to anything strenuous. Despite constant reassurances that the arena would fill up, the Clash played to an audience size that would have had Hitler thinking twice about invading high garnet, never mind England, if he'd drawn as well at Nuremberg. Conspicuous by their absence they were. Still, they did their best to goddamwell bop when the Clash came out. "This is punk rock, huh? Well lemme jus show these boys what us American punk rockers can do. Yessurr. Out my way boy." Unfortunately, the time out which belongs he's got to work out his complicated reaction, your punk rockers sorted into another number and all over again.
When these people go ape they don't pogo but pull out a gun and wipeout their neighbors. The rebel yell and Eddie Cochran is in the mists of antiquity and rock roll was rather than inspired. The band were competent, rather buhow's going down the road apiece. The liaison between band and promoters, incidentally, was founder of American R.A.R., and runs a politico rock magazine along the lines of Temporary Hoarding. Unfortunately, he undermines the credibility of his good works by acting the complete acid casualty. Watch out for that brown acid, man. Next week - Minneapolis with forked 'm so bored with the U.S.A. Me too, brother shoot. And other misspelt American towns in the night, the postcards home, the noises (coming, honest) and what's behind the fear and loathing behind the who the hell are you? Behind the 'raht narce tuh meet yuh'? Meanwhile concert, bye from the Wowtorstomp Promoter
Clash - Part of the Clash crew t-shirt design.
Part 2, The Shape I'm in
6th October, 1979 - New Musical Express, By Ray Lowry
One-off, Johnny Hestivs was blasted before the Clash came out and shredded the New York Palladium second-night audience with magnificent rock and roll. Opinions vary as to which shows stand out, but every time I’ve sat down in the audience to witness the Clash, it’s clear they are shouldering the weight of rock and roll for the rest of the world. They are doing it so well on so many levels that predecessors and contemporaries seem like slobs and jerks in comparison.
But on with the tour. From Boston to New York on a bus called "Arpeggia," fueled by great feeds like they used to make. The New York audiences were expensive and demanding, but after the Undertones and Sam & Dave got them boiling, they went outrageous for the Clash, shouting and applauding like mad.
After New York, I became embroiled in the ongoing saga of the new backdrops. This involved spending most of September 29 hunting for a 40-foot piece of sackcloth to replace the previous one. It was a fruitless mission, ending in frustration as I could only find a small boxy substitute. For all I know, the sackcloth has since been chopped into small pieces and hurled around as relics.
THE BIG CRAB APPLE
Meanwhile, after a brief stopover in Philadelphia, where fans clapped their hands together for so long that encores were fired off like cannonballs, Joe Strummer had to come out after the set to explain that they couldn’t play any more. The next day was rough—mostly spent nursing hangovers, occasionally crying into my hands while shoveling periodic quantities of water and pain pills into my system.
NEOVASTERY AND THE SOILED PILLOWS TOUR
Philadelphia left its mark, but New York was something else entirely. The Clash delivered electrifying performances at the Palladium, weaving new material like "The Right Profile," "Guns of Brixton," and "Revolution Rock" seamlessly into their older catalog. The result was a fresh yet familiar set that proved this band is still rock and roll royalty. They’re setting standards so high that any criticism from English detractors feels hollow compared to their admirable achievements.
Next week: The Meaning of Life. This corrected version organizes the text into coherent sections while maintaining its original tone and content. It highlights key moments from The Clash's 1979 U.S. tour, including their performances in New York and Philadelphia, as well as some behind-the-scenes struggles with logistics and exhaustion.
Part 3, Have you heard the news?
There's good rocking tonight!!
13th October, 1979, Clash USA '79 By Ray Lowry
Atlanta, Georgia, October 1st
I forgot to mention Philadelphia's mutants—more disturbing-looking people than even Liverpool or Warrington can boast. People with noses in their ears and hands growing out of the sides of their heads, dripping. Heads like hairy sunsets over the paraffin pillows stuffed down. There’s a metal statue of these people ostentatiously displayed. All that was left behind on to Montreal and Toronto on September 26th. The Clash aspired to the level of England, and this meant a lot for this tour.
Although from Joe, the long-awaited stage at the end of the Centre in Toronto, their legs were like a handful of stones. Faces like jelly and flaming complexions like beds. Walking potatoes with holes where their heads should be, smeared all over them like a giant clothes peg.
The Clash bus clogged for two shows on the 25th. Canuck audiences visibly displayed enthusiasm, with the first serious gobbing after a touching request. Distance throat clearing invaded the set at O'Keefe, where about twenty or thirty seats died. That's New Pop.
THIS IS AN AMAZING TOUR
The Americans had "Give 'Em Enough Rope" as the first official album release (although The Clash is said to have sold in vast quantities as an import). An amended version of the first album has only recently been released, but the lights are going on over people's heads all over the place, and the political message has obviously been picked up by many of the punters who try to get their messages of goodwill through at the end of each show.
"What I saw in the band was a concentration of all the pain and outrage lodged in my gut." To many, of course, it's just a great rock and roll show. Guided by some infallible rock and roll tribal consciousness, The Clash are looking more than ever like the bastard offspring of Eddie Cochran out of Gene Vincent and a Harley Davidson.
It’s dumbfounding to see the most intelligent, positive rock and roll on earth at present being presented nightly by a band who look like the wild ones who haunted the troubled skies of the fifties. America is being reminded of how rock and roll looks, as well as how it’s never sounded before. A girl hesitantly unveiled two oil paintings of Mick and Paul in Monterey; she was face to face with different incarnations.
But there's much more going on here than that. American kids are being given the rude awakening that was so swiftly pooh-poohed by vested interests when it happened in England. After Canada, it's marathon drives again to Worcester, Massachusetts, and Maryland—more images of America being given the message: London's calling to faraway towns.
To the abandoned drive-ins and big Macs like sleeping dinosaurs in the fog at the side of the truck stop, to the gas attendant in yellow at the all-night doorway, to the uneasy sleep of cities, to the people.
Rolling Stone has just printed the album review that was needed here in 1977. This is the beginning of the end for many things.
NEXT WEEK: WAR WITH THE U.S.S.R. This version corrects spelling errors, punctuation issues, and improves overall readability while maintaining the original message's intent and style.
Part 4, Brothel creepers over America or suedes over the States, rescue operation
The Clash are in Chicago where the streets can be intimidating if you're a goddam wimp, English white boy like me. Battered, old pimp mobiles glide around like wounded animals and the taxi style resembles seventeen size two hundred with a girder Dr. Martens for a fender. Slapped MADE IN HONG KONG style and paint scheme complete with tinted windows and driver, the false start of Monterey.
AND ON TO CHICAGO
Where I hide behind a double-locked door from the violence and intimidation which is room service emptying the ashtrays. A body of steel bridges roughly banged together from scrap metal and excess over lengths of junk. Haphazardly, rows of sewage and worse delivered The Clash to their first Chicago gig. The Aragon Ballroom is the American ranch with the Albert Hall setting it down in Blackpool this week and calling in the hordes. And love the Cloggies! The Undertones and Bo Diddley stoked up the rampant insanity and by the time The Clash darkened the stage, beat-up amplifiers...
CHICAGO CALLING
Kicked into things. Minneapolis where it rains a fair amount. Undertones and David Johannson supported and it became clear Americans do still care about Rock Music. The Brits finally, and though it's bad news for English isolation, The Clash got lost over here. Fuckers like me can example every bit as much as the horrendous alternatives doing the rounds and the impracticability of the rock and roll population. Common sense says that they have to get out here periodically to stamp their authority on the Cowboys.
Had finished their set and the audience melted down into a heap of steaming insides and thrashing around the theatre. Songs like The Right Profile, Guns of Brixton, Revolution Rock infiltrated into the older material and made for a great Clash set. This band is still rock and roll, they're setting the standards and are still so nasty. Any of the popular English criticisms of them pale against their admirable achievements. GOT TO MOVE NOW - NEXT WEEK THE MEANING OF LIFE, to be continued...
This corrected text appears to be a review or personal account of The Clash's performance at the Aragon Ballroom in Chicago on September 14, 1979
Pt 5 Great American Greases
What am I doing here? I got on this tour because I wanted to do some paintings about rock and roll. About what shows are like. The light and the lights, the audiences, the performers from the audience point of view, the stage. I had an idea that I could convey something that the camera and the kind of heroic, icon-like images that most rock and roll paintings have been concerned with, perhaps couldn't. That was a month and a continent ago and I've had plenty of second thoughts along the way. Simply being out of England at a time when things are getting tougher is obviously guilt-inducing. I've stood among American audiences or at the side of the stage on many nights through this tour wondering what the hell I was doing here and why the Clash were away from England as another winter and all that entails, closes in. I'm massively compromised of course, but it's never going to be 1977 again, there's such a transparent desire by the band that they galvanize the audiences out here into doing something for themselves, (what they've always been striving for in England) and the fact is that if there's anything honest and worth caring about in contemporary music, it's still best embodied in this band. And paintings. Do paintings matter at all? At the moment, I don't know.
SINCE ATLANTA, Georgia, the band have played five shows in seven nights through Texas to Los Angeles taking in the Armadillo World Headquarters in Austin (one of the few American towns I've seen that I could imagine living in) Dallas and its schoolbook Depository, horrible Houston and Lubbock with Buddy Hollymania. Joe Ely has been supporting again, through Texas. It's supposed to be heresy to say so but he could be a great rocker if he got a tight band instead of the usual pedal-steel, accordion, kitchen sink and all mod cons arrangement that he has at present. After the Austin show on the 4th, he did a spot of jamming with a local band plus one M. Jones and one N. Headon for one number (Be-Bop-A-Lula) running through a bunch of straight old rockers like That's Alright, Whole Lotta Shakin' etc., in a local boozebar. Good stuff which I'd like to see him do with his own band. The Clash show in The Armadillo was a good one - the club has a nice atmosphere and I nicked a Coors beer jug. By Houston, on the fifth, I was walking in my sleep and I vaguely remember the show. Pennie Smith flew back to England with vast numbers of Clash photographs. It's a great pity that only a small percentage can be used by the weekly music press.
DALLAS, on the sixth, was another big city, another small gig, but a well-won audience and a look at the spot where John F. Kennedy was assassinated. The book depository is far closer to the point where the bullets hit the Presidential limousine than films of the event ever indicate and standing on the road in bright sunlight it's hard to believe that people wouldn't have spotted Oswald and any accomplices and nabbed them within minutes. A very surprising place and oddly disturbing to see traffic trundling along the short stretch of road and into the underpass as though nothing special had ever happened there.
What happened in Lubbock on the seventh, was that after the show at the Rox nearly everyone got wasted in their chosen fashion and made a middle of the night visit to Buddy Holly's gravestone. This was my great error of the tour because I was in such a zombie-like state that I went to sleep right after the show and missed, what to me, should have been an essential trip. Dreadful time to get knackered but I'm completely well again now and rode the famed Route 66 to Los Angeles on the famous Arpeggio rock and roll bus. The band flew it. What a bunch of softies! NEXT WEEK: I WALK HOME
P.S. I believe they're cramming their itches into smaller spaces. Write to complain now.
I GROW MY FINGERNAILS LONG SO THEY CLICK WHEN I PLAY WHITE RIOT! JOE ELY COWBOY PUNK
Pt 6 Flight Home
Clash USA '79 Final Curtain
The final scene was farce with flight-home time nearer & no plane tickets, no luggage nobody ready, no idea what was happening. An hour or so before flight time attempts at organization were abandoned in favour of personal salvation and a dash to the plane. The band didn't make it. What does this mean?
My last dispatch was suppressed by the authorities but chronicled Clash shows in Austin Texas on the 4th October. Clash quadruped Dallas on the 5th, President Killers with Houston the world! And Lubbock on the 7th as Hollymania sweeps Clash as all this was, I've only space here to write tour from Lubbock, the band flew, and the alcoholics bussed (via Route 66) to Los Angeles and the wildest show of the whole tour. The Hollywood Palladium audience looked different - as mean and nasty and posy looking as an English audience and were determined to go all over anything onstage that wasn't the Clash and to hurl a good bit on them as well. Joe Ely (a constant presence on this tour) and the (Rockabilly) Rebels played through non-stop abuse and spit and the Mi Ely band made them a dustbin of water which understandably made the front rows even more hostile to anything on the stage a lot of this was the ritual belligerence that audiences everywhere.
I keep my fingernails long so they click when I play White Riot.
Joe Ely Cowboy Punk
At the Armadillo World Headquarters trash armoured, burrowing Clash assassinate on the 6th arsehole of - Bullocks to Lubbock Bus! Interesting and informative of the last five dates of the think that they have to display, and the Clash came on to great cheers mass jumping up and down, surges on to the stage, fighting, cursing, spitting and stomping ass (obscure Americanism - see also Gittin' Down and Kickin' Ass). At the end of the set with Joe Ely, the Rebels, a few dozen of the audience one shoulderson liggers the stage plus a constant stream of bodies being hurled off into the pulsating mass, the hall looked like one of those big Cecil B. DeMille blowouts just before Samson comes out and pulls the roof down or Moses enters on a mountain top with a message from God for all the fornicating sinners down below. Good show. San Francisco (13 Oct), Seattle (15) and Vancouver, all tried but couldn't really match Los Angeles, San Francisco was a great show but the audience were a bit less boisterous than L.A. Don't ask, Seattle, I didn't remember too much of it. Vancouver (16) a drink all night and was a quiet end to the tour with Joe Strummer again railing against passive audiences stealing his soul. The paradox here, of course, is that the reward for going over the top and showing ultimate enthusiasm by clambering on stage bundled off and out of (as the Lone Groover kind of was asking recently) is jumping up and down any intelligent response to music that aspires to deal with reality.
Questions, questions back home... and already sick of making plans for Nigel and the Seung at night and authoritarian violence near and so personal again, the soptimism and the naive hope that this optimisock and roll upsurge was actually going to change anything has gone, of course, but it's still issues cake return inward anoughnereto the pop hat the Clash ferest, or revile them that field of inte ferturn the government music failing to overturn the allash packed identomorrow we'd for fail if there le living the sole t aspires to lose roll a be anything more plescapism and they'd be andan blind es bluby something infinitely less worthy within thin weeks. I'd like to be back on the bus with the last rock 'n' roll band.
I've Heard of Elvis Presley, A Rebel I was sick beneath the Hollywood Tiggers Cans Prameri Sign - I vomited that other S of America Ca
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Comments from Friday 21st
One of the greatest concerts I've ever been to. Life changing!
Ernie Mendillo - I was there and I still have the ticket to prove it! One of the greatest concerts I've ever been to. Life changing!
George Patch Head - I was there for this Absolutely Legendary Evening & I Still Have My Stub. This is in my Top 10 All Time Favorite Concerts...How do I fit 100+ concerts into my Top 10?
Neil Zepkin - Facebook - I saw the show the next day 9/21/1979 at the Palladium.
The Clash wouldn't come out until the audience properly applauded for Sam and Dave
Robert Damon - Hi, I was at that show. I was fifteen, and what I remember most was that the Clash wouldn't come out until the audience properly applauded for Sam and Dave. They kept sending Cosmo out to tell the audience "Let's hear it for Sam and Dave!"
The audience was luke warm to booing, I think because of all the buzz about the first night, but they finally understood that the Clash weren't coming out until Sam and Dave received a proper ovation, so they gave them one. From: Robert Damon <rdamon[at]gmail.com>
My sister and I were standing on our seats for the entire show
@MitchGurowitz - Youtube - You are absolutely correct on this, I was there 4th row center on the day that was listed as the cover photo. I was absolutely captivated, but believe me, I'd remember such an event. It happened on the day before. Not sure how that show was, but the date was one of my favorite all time concerts. (Ended up seeing the Clash a total of 12 times and even hung around with Strummer once after a performance during the Earthquake Weather tour in Trenton, NJ).
@maryb6872 - Youtube - I was at 9/21 and Sam and Dave opened. My sister and I were standing on our seats for the entire show. Apparently at Simonon's side of the Palladium people were sitting, so he got angry and smashed his bass. Thus the great album cover. If his place was on the other side of the stage, then no anger and no picture.
Neil Zepkin - I saw the show the next day 9/21/1979 at the Palladium.
Comments from both nights
New York received The Clash like royalty
Ray Lowry (RIP) - "New York, New York received The Clash like royalty on the 20th but the evening found Mr Strummer in a bilious mood (It got to us all from time to time). Our man went a little wobbly in the dressing room, hurling a rather heavy ashtray at no-one in particular, before sinking into himself and curling into an unapproachable lump of angst in a corner seat. His ever present girlfriend at the time, the estimable Gabby tried to lure him back to placid waters. By showtime all was repaired and the boys had a great time bringing punk to the punkocracy. Someone had located a candelabra somewhere backstage and Joe appropriated it for a dramatic if somewhat hamlike entrance for 'Armagideon time'. The boy swayed on stage with the candles lit and flickering, a single pale spot eventually illuminating his progress. Kosmo's influence perhaps? "
I can still see them exploding off the stage during the opening chords of Safe European Home
Dave ... I was at the Palladium show (their first in NY?), 4th row on the aisle, thank you! I was 14. I can still see them exploding off the stage during the opening chords of Safe European Home....
Crazy, unforgettable night
Pete Hisey - I saw them in New York. Loved the Undertones too.
Stuart Leonard - I was at that show. A crazy, unforgettable night. When the album came out it blew my (and my comrades') mind. A great live band.
Pete Hisey - I saw them a couple nights later in New York [09/79]. Loved the Undertones too.
Jeff Vincent - Saw them in '79, at the Palladium, in NYC [Take 5th]. They had "Sam & Dave" open for them. Clearly, they had an appreciation for the old r&b guys
Pete Hisey - I saw them a couple nights later in New York [Sept 1979]. Loved the Undertones too.
They changed my life!!
Laura Stark - I have said this before but I saw them in NYC in ‘79 and they changed my life!!
Paris Welch - Facebook - I saw them in September 1979 at the Palladium. Beatlemania had just bitten the dust. The Post Headline was Beatlemania ends. Joe Strummer takes the newspaper and tears it in half.
Can't believe they had totally open backstage at the Palladium show in NYC that I saw, and I didn't know. I worshipped them then!
The spit just kept flying.
@shootfirst2097 - I saw the Clash at the Palladium September '79. Joe Ely opened for them and they had to endure a hailstorm of spit. Ely's band filled up a big plastic trash can with water and dumped it on the audience. Some guy behind the keyboard was berating the crowd and my brother found a sneaker on the floor and threw it from over 60 feet away and JUST missed his head by about 10 inches. The Clash came on and with a minute their clothes were covered in jiggling loogies. It was really disgusting. They berated the crowd, too. The spit just kept flying.
R.J. Simensen - I was at the Palladium show 09/79. During the first song, most of the band retreated due to the onslaught of spit coming from the crowd. But after a few a few moments, Joe walked back to the mic and started singing, getting literally soaked. It was awful but at the time one of the bravest things I'd ever seen.
One of the loudest concerts I've ever heard
Samuel Claiborne - facebook - I was there, at the Palladium. One of the loudest concerts I've ever heard.
Connie Mclaughlan - facebook - I was there ! Seen The Clash , loved them my fav punk band !!! Sheena ruled I stormed the stage & got right in front of Joe Strummer
The balcony was shaking
Hank Hoffman - Marc Campbell - Saw them twice that year at the Palladium in NYC. Great concerts. At the September show, we were up in the balcony. The band starts playing and we’re all on our feet. During the third song—I think it was “Complete Control”—we all seemed to notice at the same time that the railing at the front of the balcony was moving up and down in relation to the stage. Which meant the balcony was probably moving up and down. At which point we all sat down to enjoy the rest of the show…
Marc Campbell - Hank Hoffman I wrote this a few years ago: September 21, 1979: I was in the audience for The Clash’s NYC debut. They opened with "Safe European Home" and a jaded New York City audience went wild. Standing in the swaying balcony and watching The Clash pummel and strafe the crowd with rock so hard you could feel it in your guts, I knew instantaneously I was witnessing a band for the ages. If there had been any doubt that punk bands could play their instruments, The Clash crushed that myth beneath a barrage of tight visceral beats and lacerating guitars. It was epic. And it was astoundingly good.
Hank Hoffman - Marc Campbell - So you experienced it, too. For me, both thrilling & terrifying, that "swaying balcony."
ClueSign - The Clash at the absolute height of their powers. I was there and the balcony was bouncing up and down so hard from people dancing we thought it was going to collapse. No one in that theatre sat down for a minute from beginning to end.
@ClueSign - Youtube - I was there sitting on the floor on the left side-- you looked up and thought the balcony was going to come down. Everyone stop in their seats and danced en masse through the entire show.
Ulf Rasmussen - Facebook - I was at one. Historic! I stood up in the balcony section, by railing and looked down!!!!! I thought I saw Charlton Heston parting The Red Sea!
John Kopf - facebook - I was in the balcony and it was moving up and down and I was worried about how solid the structure was but not enough to not enjoy the great show. [Fifth/NYC]
A buddy of mine got some great shots
Robert Puckett - Life changing show I bet, I was was the show 4 nights earlier at the Palladium in NYC was for me. A buddy of mine got some great shots, this is the only one I could still find. An unforgettable night.
Larry Evans - Was at both shows, had some photos somewhere....
My dad says this was the greatest show he's ever been too
Jordan Brett - My dad says this was the greatest show hes ever been too [NYC 5th]
Kevin Berry - The B Girls, the Undertones, the Clash. The undertones blew me away that show. The BGirls not so much.
Robert Puckett - Incredible show!! The undertones, Sam and Dave, and the Clash at the Palladium, the night the cover photo for London calling was taken
@BlackSifichi - Youtube - Amazing that I was there - SEHome as an opener in NYC blew us away - The Clash and Joe Strummer always gave it all ! Thanks for this amazing post !
One of the greatest concerts I've ever been to. Life changing!
@ernslo - Youtube - I was there and I still have the ticket to prove it! One of the greatest concerts I've ever been to. Life changing!
@RTT8001 - Youtube - I was at this show too when I was 17. I think I still have my ticket stub too. I still have the tee shirt from the show. Sam & Dave were great too opening for them. I think I missed the Undertones who also warmed up. Nice to know we were part of rock and roll history!
@johnsain- Youtube - I WAS THERE!...I had a punk band and we covered "Janie Jones" at that time,...I was in London 6 months after this, with my guitars, staying near Camden Lock where the Clash hung out and rehearsed....What a great time to be 21 years old! Had to settle for a balcony seat....but I would've never dreamed I would be reliving this at home on a computer 40+ years later...WOW!
One of the most exciting concerts I have ever attended in 40 years
@benjaminliemer9338 - Youtube - I was there. One of the most exciting concerts I have ever attended in 40 years going back to 1974.
Pete Hisey - I saw them a couple nights later in New York [09/79]. Loved the Undertones too.
Jeff Vincent - Saw them in '79, at the Palladium, in NYC [Take 5th]. They had "Sam & Dave" open for them. Clearly, they had an appreciation for the old r&b guys
Paris Welch - Facebook - I saw them in September 1979 at the Palladium. Beatlemania had just bitten the dust. The Post Headline was Beatlemania ends. Joe Strummer takes the newspaper and tears it in half.
the Best rock show I ever saw
@bobcraig6069 - Youtube - I was there also. I remember it being a Thursday night and not being able to get someone to go with me. I waited for them to come back after they had played prior to sold out shows in March I believe.
I remember the opening song as "Safe European Home" and during the prior tour the opening song was "I'm so bored with the USA". I also remember The Undertones as one of two opening acts.
They were great too and I believe their opening number was "Family Entertainment". I remember the smashing of Paul's bass and thinking that is strange I thought a guitarist like Mick would do that. A bass guitar is a hard thing to smash.
I was in the balcony with my brother and two friends and years later they thanked me for taking them. That show was the Best rock show I ever saw and I still have Village Voice clippings and reviews from the prior tour.
You are wonderful for taking this time to see this through. I always tell people I can tell what part of The Clash's career they are in based on haircuts and how they dress. This was the last phase of the Best Clash show's in my opinion. When they toured next it was for London Calling and the live show slowed down.
Blackmarketclash | Leave a Comment
Video, broadcast as part of 20/20 report is from the 21st the second night of two (Friday).
In September 1979, The Clash appeared at the Palladium in New York on two nights, as part of their Take the 5th tour. Paul Simonon smashed his Fender P Bass towards the end of one of the concerts, which was famously caught on camera by Pennie Smith. The London Calling album sleeve gives the date of the photo as 21 September, but the smashing actually happened the preceding day, Thursday 20th.
Created on the night following the smashed guitar and a tossed ashtray. Depicting a view from the back of the stage. Paul Simonon and Joe Strummer stand before the crowd at The Palladium in New York. Paul facing the crowd and Joe with his back to them.
Safe European Home I'm So Bored with the USA
Complete Control
London Calling
White Man In Ham Palais
Koka Kola I Fought the Law
Jail Guitar Doors The Guns Of Brixton English Civil War Clash City Rockers
Stay Free
Clampdown
Police and Thieves
Capital Radio
Tommy Gun
Wrong ‘Em Boyo
Janie Jones
Garageland
Armagideon Time
Career Opportunities
What's My Name
White Riot
bold = video
Soundcheck
1
2
3
4
5
6
7
Stay Free Instrumental
Clampdown Instrumental
Capital Radio
Capital Radio jamming
Clash City Rockers Instrumental.
Baby Please Don't Go
Road Runner (Bo Diddley)
Extensive archive of articles, magazines and other from the Take the Fifth Tour of the US, late 1979
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'
Rarely seen film footage of the clash at the Palladium in NYC, 1979
Dave Marin's 
Pass
A Riot of Our Own pg194
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The Official Clash 
Clash City Snappers
