16 Tons Tour
Toots and the Maytels (pulled out at last minute)
Supported by Ian Dury & The Blockheads & The Vice Creems
updated 3 April 2003
updated 8 Nov 2006
updated 13 April 2011 - corrected support acts
updated 22 January 2022 added flyer with text on reverse
updated Augist 2022 added fanzine review
Audio 3
unknown gen - sound 2 - 60.47mins - 18 tracks / edited
White Man in Hammersmith Palais
Video - Punk & Its After Shocks
sound 5 - 7mins - 4 tracks -
London Calling
Video
Dangerous Minds | "Previously only available in battered VHS versions and shitty looking DVD transfers, Wolfgang Buld's Punk In England (originally titled Punk and Its Aftershocks) has been remastered and made available for viewing thanks to the generous folks at See Of Sound.
Filmed in 1980 as punk was fading, Punk In England captures the scene at a point of transition from a revolution to the pop mainstream. With dynamite performances by The Jam, Ian Dury, The Clash, The Specials, Madness, The Pretenders and many more. Enjoy."
DVD - Punk in England
sound 5 - 7mins - 3 tracks
London Calling, Police & Thieves, Janie Jones snippet & Complete Control
Sound: Lacking decent clarity or range
The first UK leg of the 16 Tons Tour is poorly served by circulating recordings. Apart from the Lewisham Odeon official tracks and the Punk and Its After Shocks video the remaining recordings are all poor (Southampton is just OK).
The Aylesbury tape in circulation is one of those, lacking decent clarity or range.
It's been copied too many times and suffers from an annoying static that sounds like something repeatedly knocking the microphone.
It's interesting though for the harp playing by Lew Lewis on a number of the songs, also for the inclusion of the rare Death or Glory and some experimental intro's. There are some tape speed problems as well throughout. The sound is very distant and a touch flat. Listenable if poor, Joe's vocals are muffled and Mick's guitar dominates, though Toppers drums can be heard as well as well as Paul's bass.
The tape cuts off some of the end of the main set probably Clampdown, I fought the Law, London's Burning I and definitely London Calling included in the video.
TISWAS SHOW (UK-ITV)
Prior to the gig the band had appeared on TISWAS SHOW (UK-ITV) on 5th January 1980, promoting London Calling. An early morning kids programme that was both serious and silly.
First night of the lengthy 16 Tons Tour
First night of the lengthy 16 Tons Tour, which would have been even longer but for Topper getting his hand stabbed with scissors during an altercation about drugs, resulting in the last 6 dates being postponed until June.
The Clash had not toured the UK since the end of 78 (partly because of CBS debt) and they were at the height of their popularity in Britain. London Calling, single and album were high in the charts and venues sold out fast. Punk had taken off in a big way with spikey haired punk rockers contrasting with The Clash's new slicker retro rocker, greased back look.
The Tour, the support acts, a new album
Clash favourites, the great Toots & The Maytals sadly cancelled at the last minute resulting in a last minute search for replacements. Ian Dury & The Blockheads stepped in to repay the favour paid to them by The Clash supporting them at the Kampuchea Benefit. Prince Hammer and Lew Lewis also stepped in, the latter providing harmonica at Aylesbury and elsewhere in 1980. Mikey Dread, of Dread At The Controls fame would appear later and have a huge influence on the sound Bankrobber and Sandinista. Mikey has said recently that he is angry that he has not received the royalties since that his imput merited.
The Clash touring party was still swelled by the likes of Robin Crocker and Kris Needs (whose band played support at Aylesbury) and Mo Armstrong (over from San Francisco with FSLN bandanas and first news of the Sandinista's. Baker and Johnny were still there but now there was catering and merchandising, organised by Blackhill who were still the management. Barry "Scratchy" Myers still DJ'ed and Tennessee Ernie Ford's classic, 16Tons became the first Clash stage "fanfare", the song's lyric of obvious appeal to The Clash, not least because of their huge debt to CBS. Dreadlocked (at least via his hat) Ray Jordan became a new fixture in the Clash camp, able to defuse any potentially violent situation before it blew up.
The sound and set was now slick and professional
The sound and set was now slick and professional. Shows were paced unlike the 100mph whirlwind from the start of the punk years. But the final run through of early classics still sent the audiences wild. Also see A Riot of Our Own p219 for this gig.
Aylesbury crowds were always enthusiastic; tickets for The Clash were the fastest ever to sell out. The Friars was sadly closed in 1984.
Setlist
Adverts
Posters
Flyer - 2 sided
HEREHERE
EIGHTIES RECOIL/SEVENTIES DECAYED
After the re-emergence of Prince Buster ska as a major new music style/beat for the eighties, coming up fast behind is the re-emergence of the Stax sound. The Stax style has one big extra, and that's brass—lots of it.
The Return of Brass in Rock
Throughout the seventies, brass instruments were very rarely seen in rock, but now, as we go into the eighties, the trumpet, the saxophone, and the trombone are coming back. Leading the field are Dexy's Midnight Runners from Birmingham, who until recently were managed by ex-Clash manager Bernie Rhodes. Other bands with a big brass sound are also emerging, not least of which are the Q-Tips. Those that came to the Dennis Brown Friars gig in May 1979 may remember just how good that brass sound felt in the Friars hall. The Beat seem to be using both ska and Stax together, so either way, they win.
What else is there going to be in the eighties? Who knows? ...but it wouldn't be too surprising if rockabilly and roots blues bands re-emerge sooner or later.
Friars Through the Years
Friars started in June 1969 and, somehow or other, has survived throughout the seventies, despite being exiled from Aylesbury for nine months in 1970/71 and threatened with closure in 1972. Hopefully, throughout the seventies, Friars has brought some good times and memories for the 35,000+ different people who've attended the gigs. Concerts have ranged from Kate & Anna McGarrigle and Steeleye Span to The Clash and Sham 69.
What is notable is that, particularly in the latter years, Friars' reputation—mainly established originally by David Bowie, Ian Hunter, and Peter Gabriel, amongst others—grew to the point where today it is regarded as one of the best places to play in Britain. In fact, as we move into the eighties, the list of bands currently playing Aylesbury has to be regarded as exceptional.
The State of Live Music in Other Towns
Neighbouring towns and cities like Luton, Bedford, and Oxford, whose individual populations are many times greater than Aylesbury, have nothing to compare with it. In fact, Luton and Bedford, both of which are far bigger towns than Aylesbury, are virtually completely starved of any kind of live rock music, which is an appalling situation. Some local councils seem to have an almost Dickensian attitude towards rock music, and those living in places like Luton and Bedford should try and do something about it.
The only other local authority apart from Aylesbury with a reasonable attitude seems to be Hemel Hempstead, where an excellent set of gigs has been presented over the last year. The main problem with towns like Bedford and Luton is the old story of a few idiots damaging venues or causing violence inside or outside venues, which can have the effect of destroying all live music for years and thus depriving thousands of people of any kind of relevant live music.
Specific gigs that come to mind were the Blondie & Clash gigs at Dunstable in early 1978, which witnessed some appalling scenes, since when there has been virtually nothing in that area. Similar problems occurred at Ian Dury's performance at Oxford earlier this year, since when there has been a dramatic decline in relevant gigs in Oxford.
You could probably put the reason for these large towns being completely starved of any kind of rock culture down to as few as 20 people who spoiled things for everyone else—which is the tragedy of the whole situation.
Have Your Say: Friars 1980 Poll
Your views on this and any other points regarding Friars Aylesbury would be greatly appreciated on the Friars 1980 Poll Forms, which will be available from January 5th onwards. The poll gives you a chance to say exactly what you think about Friars in general, as well as the opportunity to put forward any constructive ideas for improvement.
The poll also gives you a chance to say what bands you would like to see at Friars in 1980, which will have a major effect on who actually appears.
Upcoming Gigs at Friars
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Saturday, January 5th – The Clash (Completely Sold Out. Unfortunately, no tickets will be available at the door on the night. There may be a gig on this night—watch out for details.)
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Saturday, January 19th – The Ramones (See overleaf for details. Earth Records opens at 8:30 a.m. If any tickets are left at 2:00 p.m. on Monday, postal applications will be dealt with at that time.)
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Wednesday, January 23rd – TBA
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Saturday, February 2nd – Dunno yet.
The Otway Aylesbury Hostelry Tour
The Otway Aylesbury Hostelry Tour of 27/12/79 was a stunning success despite the rain. The whole tour took place in one evening and featured sets in The Green Man, The John Hampden, The John Kennedy, The Duck, and The Derby Arms. Each gig was completely different and each featured different songs. The Hampden & The Kennedy were acrobatic, whereas in The Green Man and The Derby, there was only room for John to stand on a table.
FD (GBB)
HEREHERE
Ticket
Aylesbury Friars
Friars in Aylesbury was a legendary venue, particularly in the punk and new wave scene of the late 70s and early 80s.It opened in 1969 but closed down twice, once in 1970 for a period of nine months and again in 1984 for a period of twenty-five years, reopening from 2009 to 2010.
The Clash - Live at Friars, Aylesbury (28.06.1978) - YouTube
Friars Aylesbury ran as a music club in the Buckinghamshire market town of Aylesbury between 1969 and 1984. The history of the venue can be separated into three distinct phases denoted by the venue in which the club was run. The first venue was New Friarage Hall, used from 2nd June 1969 to 6th August 1970, the second being Borough Assembly Hall, used from 17th April 1971 to 30th August 1975, and the final venue to be used (and the one in this recording) Vale/Maxwell Hall, used from 13th September 1975 to 22nd December 1984 and revived from 1st June 2009 to 4th June 2010.
Across its life, there were various trials and tribulations which saw Friars close to bankruptcy numerous times, but it survived and along the way gained an excellent reputation, and presented the best artists of its day. The venue is known as being heavily responsible for the subsequent success of such artists as David Bowie, Mott the Hoople, Stiff Little Fingers, and many more.
The Clash were big fans of Friars, and they played there four times. The final time they played was in 1982 at Stoke Mandeville Stadium sports hall, which was only ever used for that one gig.
To commemorate the 40th anniversary of Friars, an anniversary gig was held in June 2009, almost exactly 40 years to the day since the first gig and nearly 25 years after the last. This featured bands from the early era, and the event was considered by as a big success. Another was subsequently held in October 2009 with Friars legends Stiff Little Fingers, Penetration and The Disco Students. Stiff Little Fingers recorded their appearance at Friars in July 1980 (as well as their gig at the Rainbow in London the same month) for their legendary live album Hanx!, considered a punk classic.
www.aylesburyfriars.co.uk
See also this history of www.aylesburyfriars.co.uk
Friars first opened in 1969, at the New Friarage Hall on Walton Street. Since then it's had three other homes — at the Borough Assembly Hall, at the Civic Centre, and most recently at the Waterside Theatre — but the venue's importance remains the same.
"Friars stepped up a gear in September 1975 with the opening of the Civic Centre and the 1250 capacity Vale Hall (renamed to Maxwell Hall in 1977). Opportunities that would never have happened did - the return of Bowie, Genesis, Ian Hunter, Steve Harley, legendary Blondie, Clash, Ramones gigs and so many more. The decision was taken to close the Civic and replace it with the hugely controversial Waterside Theatre across the way. The building was demolished in 2011."
https://www.aylesburyfriars.co.uk/venuesremembered.html
Farewell to the Civic Centre 1975-2010
Aylesbury Friars Civic Centre photos here
Aylesbury Friars Civic Centre
Photos of the Clash at Aylesbury Friars 78-82
FRIDAY DECEMBER 22ND 1978
THE CLASH
THE SLITS
Source: Tim Watts
SATURDAY JANUARY 5TH 1980
THE CLASH
IAN DURY AND THE BLOCKHEADS
THE VICE CREEMS
Source: Don Stone
SATURDAY JANUARY 5TH 1980
THE CLASH
Source: Sarah Woods
MONDAY JULY 12TH 1982
THE CLASH AT STOKE MANDEVILLE
Source: Don Stone
MONDAY JULY 12TH 1982
THE CLASH AT STOKE MANDEVILLE
Source: Bucks Herald Archive
MONDAY JULY 12TH 1982
JOE STRUMMER AT STOKE MANDEVILLE HOSPITAL
Source: Bucks Herald Archive
MONDAY JULY 12TH 1982
THE CLASH AT STOKE MANDEVILLE
Source: Steve Hoad
Original Aylesbury gig flyers from 1978/1980/1982
"We'd like to bring on a couple of friends"
The recording starts with an urgent sounding Joe shouting "Testing microphones, 1-2" then Mick plays the opening chords of Clash City Rockers.
There is some chat near the taper and then memorably Joe shouts, "you won't succeed, you GOTTA try". Straight into Brand New Cadillac a short gap before Mick shouts out "1-2-3-4" and they slam into Safe European Home. "We'd like to bring on a couple of friends" Mickey is introduced on organ "We also have some harmonica". Lew Lewis's playing adds another dimension to Jimmy Jazz making this one of the highlights. There's an edit which loses probably loses at least London Calling. It restarts with Guns of Brixton followed by a lengthy drum intro to Train In Vain. The harmonica can be heard to good effect here.
An excellent White Man also benefits from the harp playing and from Joe ad-libbing over the ending. Koka Kola this time does not segue into I Fought The Law. Wrong Em Boyo is followed by another edit and then an interesting Bankrobber with some experimental touches, still played as a ska/r'n'b number.
Joe's cries of "woahh,woahh!" herald the start of Police & Thieves, filmed thankfully by Wolfgang Buld in its entirety.
Mick's Stay Free next before a rare live outing for Death Or Glory. The Notre Dame recording is much more interesting though.
Another edit leads into Janie Jones, and then Topper's drum intro's lead us into Garageland and the end of the main set.
Armagideon Time begins the encore as usual, played now in the recorded arrangement. The song leads into English Civil War as it would for most of the tour. The recording stops abruptly during Complete Control probably cutting off the likely second encore.
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More comments here I saw the Clash
Bill Richards - I was there- l seem to recall that the 'mystery guests' were Ian Drury and the Blockheads. Brilliant night - though l distinctly remember a disgruntled punk saying the Clash had 'sold out' by charging a fiver
Record-Mirror, 12 January 1980
Ellen Foley and Aylesbury gig
HEREHERE
ELLEN FOLEY had a motorcycle accident on New Year's Eve...
ELLEN FOLEY had a motorcycle accident on New Year's Eve when she was riding on the back of a motorbike in Califor-nia. Of course what her press officer refuses to reveal is what she was hanging on to before she fell off. The mystery is, why did the driver lose control? Was it the ice picks of excitement coursing up his spine as Miss Foley wrapped her cool fingers around his. left ear?
Messrs Strummer and Dury
The First Major Gig of the Eighties
WHAT ELSE can we say but... keep taking the Pils. Looking suitably surly, as if you didn't know, are Messrs Strummer and Dury following "the first major gig of the eighties" (groan) at the famous Friars, Aylesbury on Saturday night.
Supporting The Clash on the first night of their current nationwide marathon were none other than Mister Dury and The Blockheads, graciously returning the Spanish Bombers' compliment of having opened for them at one of the Kampuchea gigs.
Fab Facts (Vol 41)
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Mick Jones jammed with The Blockheads on 'Sweet Gene Vincent'.
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Ian Dury changed the words of 'Rhythm Stick' to "Over the Hills / To Aylesbury".
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On 'Jimmy Jazz' (Joe Strummer meets Tom Waits in Woody Guthrie's box car while bound for glory), The Clash were joined by The Blockheads' Micky Gallagher on keyboards and the inimitable Lew Lewis on harp.
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Ditto 'Train In Vain' (the nineteenth and untitled track on 'London Calling', don't you know) and an indescribably excellent version of 'White Man In Hammersmith Palais'.
A Beezer Night Out
All in all, a beezer night was had by all, including Phil Rambow and the chummy Phil Taylor of Motorhead, who once again blew his image by appearing freshly shampooed, bright-eyed, and anything but Phil-thy.
Also out and about this weekend were Jake Riviera and Andrew Lauder of the recently resuscitated Radar Records, both down The Nashville in sleazy West Kensington on Sunday night to scrutinize the ever so cutesie-pie Dolly Mixtures.
Also looking on was a certain Mr Nick Lowe, who, as well as being strongly tipped to produce The Mixtures' upcoming platter, appears to be acquiring a prodigious number of grey hairs.
The Nips and German TV
And if that lot weren't enough, supporting The Dollies were the fabulous Nips (shame on you for not buying 'Gabrielle'), and the whole gig was filmed for a German TV documentary. So don't mention the war.
MIKE NICHOLLS
HEREHERE
1980
Don't Dictate fanzine, Issue C
Aylesbury and London Calling
HEREHERE
The Clash – Friars Aylesbury
Standing in the bar, and somebody shouts Ian Dury is on stage. On entering the hall, I see the hunched figure of Ian Dury with his marvellous backing band The Blockheads. They play favourites such as "What a Waste", "Hit Me with Your Rhythm Stick", and the impressive "Sweet Gene Vincent", ending with "Clever Trevor". They were very well received, and with the powerful rhythm section, you can't help but dance to them.
The Clash are disappointing. Energy, sweat, and gob exude from band and audience alike. Clash put a lot into it but, probably due to an at times atrocious sound, they are frustrating. Joe Strummer occasionally is reduced to turning away from the crowd and grimacing. Songs like "London Calling" and "White Man in Hammersmith Palais" are given the same decibel treatment as stronger songs such as "Brand New Cadillac". The band, who seemed upset by the poor sound, only came back for one encore and then left the stage for good.
The Clash – London Calling
A double album for £3.50 (Virgin Records) can’t be bad, especially when it’s by The Clash and especially when it’s the best thing they have ever done. At last, they have lived up to their previously overrated image. The production, by Guy Stevens, is rough and basic, which I am sure is exactly what was intended and which suits The Clash down to the ground.
The album has 19 tracks (including the unmentioned "Train in Vain" on side four), and they contain some of the most varied musical styles The Clash have ever tried before. The band play Rock & Roll, Jazz, Ska, and Soul-type numbers as well as plenty of the good old Clash-type rock which we all know and love. More important than what they play, though, is the way they play it. They actually sound like they are enjoying themselves, and this is something that has never come over before on their recordings. The Clash usually come over as being solemn about and even bored by their music, whereas on this album, they seem to be actually having FUN. London Calling is too good, and there’s plenty of it, so get to Virgin while it’s still on offer and grab yourselves a bargain.
T.W.
HEREHERE
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NME 12 January 1980
NME - The Laurel and Hardy of Rock n Roll at it again
12th January, 1980 - New Musical Express
Page 33
The Laurel And Hardys Of Rock And Roll At It Again
LIVE! The Clash / Ian Dury & The Blockheads
Aylesbury: The Clash
My feelings aren't strong, just warm. Tonight, I'm in an army of one.
I've never been caught up in the whirlwind back-to-front lashes that come snapping at the heels of their every last statement; never been over-concerned as to whether they're lagging behind or surging ahead of the gargantuan Clash myth—whether it's a banner, a veil, a blank canvas, or a millstone around their guitar necks. I've felt elated by them, but never involved enough to feel cheated.
If this 'official' tour opener proved anything, it was that The Clash finally have the cohesion to edge much of this theorising into the side aisles. There's still a massive chasm between their overblown romanticism—typified by London Calling and The Guns Of Brixton—and their intended feet-on-the-street directness of sentiment. It's either been tempered by the acceptance that cloud-headed idealism is their main driving force, or that, musically, they're now much broader and so much more articulate. Probably both.
Whatever the case, the myth looks momentous in its sleek new American threads. Mick Jones and Paul Simonon flank Joe Strummer, weaving gangling patterns in shirts with sawn-off sleeves and plainclothes cowboy boots, Jones throwing it all out of balance with flailing scissor-legged leaps—as visual as his guitar is distinct—suspended under the most vivid and carefully restrained lighting rig.
For tonight, The Clash have Lew Lewis for three numbers, chiselling his mouth-harp into the superstructure—most effectively on Train In Vain—and for all but two, Blockhead Mickey Gallagher on keyboards. Initially sounding like a welcome addition, he simply fills in cracks that are often better left open and seems neither superfluous nor very constructive.
They turn in a furious, grinding assault course of a set, keeping a compact, diverse mix of past bests from Police & Thieves to (White Man) In Hammersmith Palais, while laying open ample scope for the new album. It's sometimes patchy, sometimes engagingly loose—as in the gorgeous chunky reggae Bankrobber—and sometimes breathtaking in its intensity and sheer spaciousness of sound.
London Calling gets dispatched early on and almost crucified by Strummer’s hopeless vocal. Simonon gives The Guns Of Brixton similarly duff treatment (little better than the album version), yet the quality of both numbers ensures they aren’t killed stone dead.
The pacing’s dodgy overall, steering well clear of a conventional gradual climb (a mistake, I’d venture), but just occasionally—Jimmy Jazz and the tumultuous Clampdown—getting about as near to perfection as is humanly advisable.
I'm no great Clash fan, but they won. Can’t be bad.
Ian Dury & The Blockheads
Repaying dues after The Clash's support at the Kampuchea Benefit, Dury and The Blockheads followed what’s commonly known as a 'spirited' warm-up by psychedelic punk pioneer Kris Needs and the new Vice Creems.
The Blockheads came on fighting fit, intent on converting as many of The Clash contingent as The Clash had won over Dury fans.
Bringing on "handsome person number one" (Mick Jones) to add an unassuming rhythm part to Sweet Gene Vincent made it easier for those who'd never met Dury before. However, due to the follow-spot operator's total misunderstanding of the gesture, Jones got the megastar spotlight while The Blockheads toiled away somewhere in the dim background.
Unlike The Clash, the set was more or less an affirmation of style rather than an attempt at breaking new ground. As such, it was a fairly level event, not helped in the early stages by a miserable sound mix. There were a few minor changes: Gallagher’s slightly rearranged keyboard accents (in place of Chaz Jankel) and a shift of emphasis onto Davey Payne, who completely revitalised Clevor Trever and, in Plaistow Patricia, seemed hell-bent on getting sounds out of his tenor sax that could strip paint at 50 yards.
This being a support slot (and he doesn’t play too many), Dury condensed the current set down to its failsafe skeleton. The fact that precious few of these were from Do It Yourself makes you wonder what his next move will be.
He’s been in this position before and came up trumps. The only difference now is that the stakes are higher.
Mark Ellen
All photos by Pennie Smith.
Clockwise: The Clash, Simonon, Strummer, and Ian Dury.
Unknownsource / date
Magazine? with set list +
HEREHERE
Handwritten Lyrics and Lost Originals
WHAT RHYMES WITH "Phony Beatlemania has bitten the dust"? Handwritten lyrics for several immortal The Clash songs, including "London Calling," are part of the retrospective. Also on view is a fan's photocopy of the doodle-embellished lyrics to "Should I Stay or Should I Go?"
"The original disappeared," Kramer says. "They didn't always take great care of their stuff."
Setlists and Song Selection
SHOULD THIS TUNE STAY OR SHOULD IT GO? For a 1980 gig in Aylesbury, Scotland, Joe Strummer dashed off this set list on the back of an envelope.
"The Clash was deliberate," Kramer says. "They were careful about what songs they played and in what order, what songs they would get rid of, and what songs they would keep."
The Iconic "London Calling" Cover
TOUGH BREAK: The cover of The Clash's landmark 1979 album "London Calling" (with typography modeled after the cover of Elvis Presley's first LP) features a photo of a frustrated Paul Simonon on the verge of smashing his bass after a concert. What's left of the instrument is displayed at the Rock Hall.
"London Calling" was "a change-up when everybody was expecting a fastball," says Kramer. "Essentially, it's The Clash's take on American roots music. You can't comp it to anything else within the punk era."
HEREHERE
SOUNDS - 12 January 1980
Justice Tonight
Review of Aylesbury gig
HEREHERE
ON THE ROAD
Justice tonight
The Clash / Ian Dury / Vice Creems - Aylesbury
THIS IS what we find: even the grisly yelled overtures of Kris Needs’ Vice Creems, hauled onstage and hammering through an excruciatingly punked-out take on Carbunkle’s “Bright Eyes” (how long can I slag ’em off for this bit of cruel genius?), cannot dispel the fact that tonight we get to see not just The Clash, but Ian Dury and the Blockheads too.
I’d swear that gleeful Dury grin is wider than ever. Squashed onto the front half of an overloaded stage, the Blockheads are having a party: they’re playing because they like The Clash, and there’s no need to resort to the oft-annoying Cockney cabaret or any forced banality.
Smashing out glorious themes like “Plaistow Patricia”, sweeter than “Sweet Gene Vincent”, rapping out the rhythm of a fatty but overcharged “Hit Me with Your Rhythm Stick” against Davey Payne’s superb saxophone swoops (no one ever made me feel such envy), and tumbling back en masse for the celebration of “Clever Trevor”, they’re a reminder of how good they’ve been since God-knows-when.
Then The Clash take the stage, proving the “forgot how good they were till I saw them again” theory to order—though it’s more a case of coping than setting a showcase. Quirky, muggy sound makes mincemeat of Jones’ sensitive vocals, while even Strummer has to holler to sometimes be heard on new songs that’ll need a few more live airings before they achieve the accepted greatness of “Garageland”.
But it’s The Clash. They reward the young believers with an assortment of over 20 takes and a stage show so simple and effective that its only parallel is there, sparking in the music. Mick flicks into Townshend leaps and asks the audience if they saw Tiswas, Strummer twists himself into giving more of his voice than he probably thought he’d got, while Paul non-stops and Topper pulls at the ragged moments, tightening the set.
Punk is far from dead—for the Aylesbury inmates and the floor fatties under pogoing monkey boots and Jane Jones, but The Clash’s progression—from ’77 outrage to what will surely be Eighties enormity—is merely poking its nose around the corner. Aylesbury’s teething troubles are the beginning of what could well be an incredible tour, the menacing crunch of “Guns of Brixton” side by side with the ghostly “Clampdown”, Lew Lewis’ harp humming through “Jimmy Jazz”, raw emotion clouding “Stay Free”.
Dimmed lights and eerie jungle screams—“Armagideon Time”—ends a timeless, relentless, uncluttered sigh.
Did someone say that the Eighties start here?
I hope so.
ROBBI MILLAR
HEREHERE
Enlarge image (1) ---- Enlarge image (2) - alt
Traxmarx - includes this gig
On the Road with the Clash
HEREHERE
On The Road With The Clash
THE MYTH AND THE BULLSHIT
‘The Myth Of The Clash’ (copyright Marcus Gray) was not the only thing I had to contend with whilst growing up with The Clash - there was also “The Myth Of How Many Times I Actually Saw The Clash (in reality)” to deal with. The truth is: I bullshitted quite a lot. I was a committed bullshitter when it came to The Clash. A one-man crusade to prove myself as the ultimate Clash fanatic numero uno!
THE FIRST BULLSHITTING INCIDENT
The first bullshitting incident occurred around early 1978 (having “lived with” The Clash since 8th April 1977 - UK release date of “The Clash”) - some 6 months or so before I’d even seen the fuckers - when I spent an evening in some back-street dive in Leamington Spa bullshitting various fellow Punks that I’d caught the Barbarellas show on the White Riot tour on the 3rd of May 1977. I dubiously claimed I’d caught the bus from Stratford Upon Avon (some 7 miles walk from my home) & had to leave the gig after only a handful of numbers to catch the last bus from New Street Station in order to return to Stratford - & then walk the 7 miles or so home. Trouble is - once you’ve started - you just don’t know where to stop. In those days, having witnessed such an event was akin to having been present at the virgin birth of our Lord & my bullshitting attracted me the questionable reputation of having “been there when it mattered.” Obviously I had to concentrate very hard when re-bullshitting in the ensuing months to avoid blowing the gaff - & my meagre “street cred” in the process.
THE BURDEN OF BULLSHITTING
This virgin bullshitting incident eventually became a yoke around my neck. Whenever I was out in Leamo with any of my close mates I’d have to immediately manoeuvre anyone away from them who approached us asking to hear the tale one more time. My homeboy, John Henderson, eventually sussed me out - & subsequently took the piss long & hard (even threatening blackmail - probably involving the requisition of some highly sought-after 7” 45rpm disc or other). By the time John & I finally got to see The Clash for the first time - I was a fucking nervous bullshitting wreck!
DISCOVERY RECORDS AND THE SATURDAY JOB
By spring 1978 I’d scored a Saturday job at Discovery Records in Stratford Upon Avon along with my schoolmate, Olly Little. Discovery was a small independent concern run by a large cheeseburger loving Mott The Hoople fan called Bob Barnes. Bob had taken a shine to us as we’d spend every school lunch break hovering around the 5 square foot surrounding his till - drooling over the 7” 45rpm box to the left of it - & making his shop look busy! We slowly turned our mates & associates onto the shop & Bob’s customer base began to grow accordingly (we also brought our fair share of nubile young women into the shop as well - another reason to employ us!). Bob offered Olly a job first - I was gutted & extremely jealous - but eventually he decided there was room enough for two - & I joined the “staff” a matter of weeks later.
POST-SCHOOL ROUTINE
Most weekdays we’d return to the shop after school & kill the hour or so before our respective buses left - enabling Bob to pop up to the nearby Wimpy Bar with some rep or another to catch up on cheeseburgers at the label’s expense (Bob’s second favourite pass-time - after talking about Mott!).
FRIARS AYLESBURY AND THE INVITATION
Bob was matey with the promoter of Friars Aylesbury - & soon invited us down to catch a gig. I forget our first Friars experience - but I was unlikely to ever forget my second: 28th June, 1978 - The Clash (Out On Parole Tour). I talked Bob into letting John Henderson come along for the ride - & we set off from Stratford in Bob’s reasonably flash motor for the 50-odd-mile trip (via Banbury) down to Aylesbury. John & I were so fucking nervous & loaded with excitement we hardly said a word all journey. Bob blasted out Mott, derided Punk groups & talked about how many times he’d seen Mott (& met Ian ‘Unter). If I hadn’t been so wired (Dodo’s) - I’d probably have fallen asleep!
We parked close to the venue & Bob insisted on taking us round the corner to see the window of a record shop run by Kris Needs (Zig Zag/The Vice Creams) - usually the pass time of kings, as far I was concerned - but not when The Clash were less than a few hundred yards away! Almost as soon as we were through the door - Hendo & I made a b-line to the merch store & eagerly purchased our 1st Clash t-shirts, posters & badges (stashed safely for us until after the gig by one of Bob’s Friars buddies). We finally felt a part of what was going on for the very first time.
From the moment The Clash exploded onto the stage (we’d missed The Specials) I was addicted - from the Meserschmidt backdrop to the cut of their jib - The Clash were the most intimidating, rage-fueled, genuinely affecting sight I’d seen in my relatively short term on this planet thus far. Strummer’s leg pumped like he was riddled with amphetamine - Jonesy stalked the stage like a gobby guitar hero - Simmo was the epitome of studied cool - & new boy Topper smashed his kit to fuck like his life depended on it.
Sucked into the mosh-pit almost immediately - & loosing a shoe in the process (I ducked to retrieve & put it back on - & got kicked to fuck in the process) - I was soon separated from Hendo. The smell of the sweat (not the grease paint) filled my nostrils as I surged backwards & forwards with the tide of the crowd.
The set was rammed with new tunes (from the forthcoming “Give ‘Em Enough Rope” LP) - “Police & Thieves” bled into a cover of “Blitzkrieg Bop” - we even got to witness an airing of “All The Young Punks” (a tune The Clash would rarely perform live again). It was all over way too soon & I was literally dripping with sweat - not all of it mine, I might add. It was like a fucking swimming pool.
I soon found Hendo & we excitedly searched out Bob - who’d not left his position at the bar for the duration - & was just about pissed enough to drive us home.
THE POST-GIG RITUAL AND JOURNEY HOME
We stopped off at the Wan King in Banbury for Texaco Havoline spring rolls (Bob excitedly showed us how to wring the excess grease from one over the windscreen of an adjacent motor - a ritual that would become commonplace on all future Friars trips). We eventually arrived back home in the small hours, clutching our goodies with pride & saying “what” quite a lot (due to earfuls of feedback & volume-damaged lug-holes). Needless to say, I didn’t take the t-shirt off for quite a few weeks - my mother eventually threatened to cut it off if I didn’t surrender it to the wash box!
THE RELEASE OF "GIVE ‘EM ENOUGH ROPE"
A few months later, on the 10th of November 1978 to be precise (half term), I was rudely awoken from my slumber pit at some ungodly hour (10am-ish!) by a shout from my mother - Hendo was on the phone. I wasn’t impressed, but stumbled down to the phone regardless (which was big of me - considering John would often greet early morning phone callers to his abode with a curt “fuck off” & a slam of the receiver). “Heard the new Clash LP yet?” - he gleefully exclaimed. He’d only gone & bummed a lift into town with TC (his dad) & gone & scored a copy on the day of release before I’d even woken up! Bastard. The rest of the morning was taken up hitching into town - arriving at Discovery in somewhat of a flurry - desperate for my Clash fix. I’d been done over by the curly-haired little fucker - & I wasn’t best pleased. I was the SECOND Punk in Norton to own a copy of “Give ‘Em Enough Rope” - & that hurt.
PLOTTING REVENGE: COVENTRY GIG PLANS
Revenge was not long in coming - I bussed it into Coventry to Poster Place & scored two tickets for The Clash for the 28th of November (Sort It Out Tour) at Tiffanys - & proceeded to wind Hendo up that I was going to take Moz along instead of him. On the night, TC gave us a lift into Cov & (somewhat amazingly) even agreed to pick us up after the show.
TIFFANYS, COVENTRY - A DIFFERENT VIBE
Tiffanys was a far more oppressive atmosphere than friendly Friars - maybe it was the memory of being beaten up a few times at Highfield Road in the past - but Coventry seemed predisposed to scaring the living shit out of us rural yokels! I scored a superb “Sort It Out” t-shirt & another poster - Hendo couldn’t afford any merch & I seem to remember some sulky shapes in the area (in the end I bought him a badge - generous, or what?). The set was fairly close to the one they’d played at Friars & all I can really remember is being totally in awe (a new backdrop consisting of flags of the world draped the back wall of the stage) - & constantly expecting to be hit very hard at any moment (without warning).
THE FRIARS XMAS PARTY: RETURNING TO AYLESBURY
On the 22nd of December 1978, I returned with Bob & others to Friars for the Friars Xmas Party featuring The Clash. My main memory of the night was being introduced to The Blockheads road manager who had once worked with Eddie Cochran or Gene Vincent - I can’t remember which. I guess you’d call it ligging - but of course, I didn’t know that then.
I decided to watch the show from the balcony on this occasion (remembering my shoe-losing kicking from the last Friars Clash gig) & got a whole new perspective in the process. The Clash were unstoppable - moving inexorably towards their prime. Little did I know it then - but they would rarely reach these levels of total intensity again.
THE LYCEUM BALLROOM GIG - JANUARY 1979
On January 3rd, 1979, Hendo & I hitched our way down to the bright lights, big city of London Town to see The Clash complete their 3-night stint at The Lyceum Ballroom. This could well have been the group’s finest live hour - it was definitely the best gig of our lives, as far as Hendo & I were concerned (even if Topper did look a twat in his yellow catsuit!).
POST-GIG TROUBLE IN LONDON
As we spilled out onto the streets after the gig, we were surrounded by a gang of cockerney herberts who began demanding our money with menaces. I bullshitted (I was quite a convincing exponent of the art by this stage) that we only had enough money for our train fares back to Stratford (true-ish - we would have hitched back anyway - but what cash we did have was for emergency transport) - they thought we meant Stratford (East End) - & obviously, assuming we were talking meagre tube fare pence - thought we were not worth the bother & backed off. I still got a dig from the ring leader for my troubles (a smack on the chin) - by which time Hendo had fled off down The Strand at pace - with me not too far behind!
We didn’t stop running for several blocks & by the time we came to halt in a hail of coughed-up phlegm - wheezing badly & swearing to give up smoking very soon - I laid into Hendo for his chicken shit stance in the fracas (but not too hard - as we were crashing on the floor of his sister, Mary-Anne’s, flat). I can clearly remember feeling very relieved to have escaped with my bollocks intact from that little showdown - & sleeping with yet another new t-shirt over my old Clash t-shirt because it was fucking freezing on that floor!
When we awoke the next cold morning, we had no idea that we wouldn’t see The Clash again until the next year - 1980!
THE CLASH IN TRANSITION & A YEAR OF CHANGES - 1979
The Clash spent most of the rest of 1979 touring the US & recording the follow-up to “Give ‘Em Enough Rope”: “London Calling”. Press shots showed that the fatigues were giving way to suits & homburg hats - suspicion held sway in my mind - were The Clash about to sell out after all?
I spent much of 1979 fucking as many girls as I could, playing in my own Punk group & seeing as many different groups as I could. Hendo & I holidayed in France on a PGL Adventure holiday (my second PGL trip - the first, a year earlier with my mate Andy Gilbert - RIP - had resulted in my running away to stop in Barnett for a few weeks with a girl I’d got off with in France, called Sarah. I remember buying “Hong Kong Garden” by The Banshees in Barnett during my stay - & smoking a ton of opiated black hash).
I copped off with a girl called Jayne from Poole in Dorset. I began attending Stratford College doing a Business Studies course in September 1979. I started dating a girl by the name of Rebecca & was generally as happy as Larry (whoever the fuck he may be?).
On November 10th, 1979, I met the woman who would turn out to be the love of my life (although The Clash didn’t know that then!).
LONDON CALLING RELEASE - DECEMBER 1979
On Monday, 14th of December 1979, I bought an early doors copy of “London Calling” from Bob at Discovery - & Jenny & I bussed it back to Norton to listen to the LP in the comfort of my bed. We had to skulk about the village for a while waiting for my mother to go to work - but eventually gained access via my bedroom window.
We listened attentively to side 1 - bonked our way through side 2 - cuddled along to side 3 - & fell asleep during side 4. Jenny wasn’t overtly impressed with either my performance or The Clash’s - a bit of work was needed in both departments. I was obviously not the stud I’d previously considered myself - & “London Calling” was not “The Clash” x “Give ‘Em Enough Rope”!
JEN’S FIRST CLASH GIG - FRIARS (16 TONS TOUR)
Jen’s first Clash gig was at Friars for the kickoff of the 16 Tons Tour. It marked the first UK live airing of the “London Calling” material and the first time I’d seen The Clash in almost a year. I still hadn’t completely come to terms with the LP and—judging by the hostility from certain sections of the audience—neither had the general public at large. We’d been blown away earlier by Ian Dury & The Blockheads but watching The Clash later, I had serious reservations. The group seemed rusty, the newer material lacked the power of their earlier gear, and it was only during the older numbers that the vibe became anything approaching charged. Jen was impressed nonetheless, so I revelled in my newfound love buzz and basked in the glory of being a (self-proclaimed) seasoned Clash gig-goer (God only knows the bullshit I’d spouted at her by now).
BIRMINGHAM TOP RANK - FEBRUARY 5, 1980
A month or so later—with sixteen (?) tons of repeated listening to “London Calling” under our belts—we reconvened at the Birmingham Top Rank on February 5th. Skanking toaster Mikey Dread supported, and Birmingham’s heavy manners presence of home-grown rastas provided able shotgun backup. My overriding memory of this show was The Clash halting the set early on and bringing a giant fan onto the stage in an attempt to stem the tide of gob being directed at them. Joe ranted that gobbing was passé and disgusting, insisting the group would continue behind the fan. This stance lasted a couple of songs before the fan was removed, and normal service resumed.
After 25-odd shows practically back-to-back, the set had assumed more swagger and power. I was inclined to feel that Clash adrenalin rush again almost from the off. By this stage, Jenny was as committed as I was—the show was truly something to savour.
TIFFANYS, COVENTRY - FEBRUARY 7, 1980
Two nights later, on February 7th, we queued up the stairwell of Tiffanys in Coventry for a repeat performance. The show was notable for some skinheaded twat gobbing off on the mic and causing a bit of a rumpus. Joe declared he’d “taken a thousand gobs” and wasn’t going to take any more before jumping into the crowd to smack the poor spitter with his trusty Telecaster. Explosive performance—charged atmosphere—it threatened to kick off at any moment. We were eventually happy to make it out of dangerous Cov in one piece!
THE RADIO CLASH TOUR - OCTOBER 18, 1981
We didn’t see The Clash again for almost 18 months. In the interim, the group had delivered the triple LP “Sandinista!”, and the waters had become truly muddied. Our next Clash gig was for Jen’s birthday treat on October 18th, 1981, when we headed to The Lyceum for the opening night of the group’s nine-night residency (Radio Clash Tour).
Throughout the gig, the memory of my earlier visit to The Lyceum with Hendo two-and-a-bit years prior haunted me. I hated to admit it, but The Clash had been way better then. Jen enjoyed it all the same—by this time, she was a massive fan and much preferred their later material to the more raucous early gear. Who was I to argue?
BRIXTON FAIR DEAL - JULY 10, 1982 (DOWN AT THE CASBAH CLUB TOUR)
By the next time we saw The Clash, I was becoming a little too over friendly with heroin chic—and the band had just dropped the equally wretched "Combat Rock" LP. Our compadres for the trip to Brixton’s Fair Deal on July 10th, 1982 (Down At The Casbah Club Tour), Eddie and Annabelle, were also in the throes of addiction, and Jen (as the only non-user in the party) was beginning to feel just a little bit put out by it all.
At one stage, following Eddie’s Mini Cooper across London to score prior to the gig, Eddie jumped out of his car in the middle of a traffic island to berate me vociferously for failing to keep up adequately. The night was marred by a crashed-out Eddie nodding out all over the shop and a fish-out-of-water Annabelle fussing over him like a bruise. Jen and I decided to ditch them for the duration of the gig and later found them both slumped in the foyer.
The gig itself was as overwrought as our circumstances—a sprawling, wounded, compromised beast of a contradiction in terms. The venue had allegedly been turned into a “casbah” for the night with lots of extra attractions, but we didn’t find them. The stage set did look impressive, however—yellow and black barriers and flashing orange emergency lights. The best moment was the pre-tape and The Clash’s arrival on stage. It all seemed to go rapidly downhill from there—it wasn’t a great (Fair) deal of fun!
BINGLEY HALL, BIRMINGHAM - JULY 18, 1982
Eight nights later on July 18th, we headed to Bingley Hall, Birmingham, to do it all again—thankfully without Eddie and Annabelle this time—and we enjoyed it all the more. The set was more fluent than at Brixton, and the bonus of many a jaunty fellow Stratfordian in the audience made it one to remember for Jen and me.
BRISTOL LOCARNO - AUGUST 2, 1982
On August 2nd, we headed down to Bristol with Jen’s older brother, John, to catch The Clash at the Bristol Locarno. Alongside Mikey Dread, the group were also supported by an Asian Elvis impersonator called Elvis Patel. As The Clash hit the stage, we stood just in front of the mixing desk—the crowd went absolutely apeshit, pogoing en masse and making the dance floor bounce. For a good five minutes, we were utterly convinced the movement from the floor was going to bring the PA stacks crashing down onto the front rows.
John—a decade or so older than Jen or me—was utterly blown away. It was his first belated interface with that thing the papers called Punk Rock, and he looked like an excited little kid at his first gig rather than the experienced veteran of '60s counterculture that he in fact was. Jen and I seemed to enjoy the gig even more than Bingley Hall—maybe because John enjoyed it so much, maybe because it was the last time we ever saw Mick Jones and Joe Strummer on the same stage together (although we didn’t know that at the time).
DE MONTFORT HALL, LEICESTER - FEBRUARY 12, 1984 (OUT OF CONTROL 2 TOUR)
Our final Clash gig was at De Montfort Hall, Leicester (Out Of Control 2 Tour) on February 12th, 1984 (see “Goodbye Comrade Joe” elsewhere in this issue)—a horror show I’ve spent much of the subsequent twenty-odd years trying to erase from my memory. The bullshit I was party to on that fateful night was far worse than any of the bullshitting I may have been guilty of during my eight-year affair with The Clash.
CLOSING REFLECTIONS
At the final count, I saw The Clash live 12 times—as opposed to the twenty-odd times my bullshitting had claimed by the time the group fell apart. Setting the record straight here for posterity has been a cathartic exercise that was well overdue—and I feel strangely cleansed by the process. In retrospect, those first five shows were the ones that really meant something to me—and I will continue to wear their significance like a badge of honour for the rest of my days.
The Clash at their best are still the greatest rock 'n' roll memory of my 27 years of gigging, and I doubt any group will ever eclipse them. I never saw the original Sex Pistols lineup (apart from the reunion gigs), and regardless of all the other Punk Rock groups I had the pleasure to see when it mattered—no one came close to the power and glory of The Clash in full flight.
For those of you who were there at the time—I salute you. For those of you who missed out—I commiserate.
The Clash: The Greatest Punk Rock 'n' Roll Band Of All Time? Discuss.
Punk Rock and Roll
Jean Encoule - tMx 12 - 11/03
contact wastebin@trakMARX.com trakMARX.com - Punk Rock and Roll
HEREHERE
Riot of Our Own pg 219/221
TISWAS
Spit The Dog, Punk & Its After Shocks Video
On the morning of the gig The Clash were in Birmingham being interviewed by Sally James for Tiswas and being attacked by Spit The Dog! The band were no doubt delighted to be on Tiswas, which was a hugely popular kids Saturday morning show. Juvenile but enormous fun when recovering from a Friday night hangover. An audio recording exists of the short interview.
Punk & It's After Shocks video
Wolfgang Buld who also produced the Punk In London DVD for Studio K7 was back in London in December 79/January 80 (according to the video cover) to film a follow up. He was at Aylesbury and a short 8-minute but excellent section appears in his film, released in the early 90's as Punk & It's After Shocks video. Mick is also seen playing guest lead on Sweet Gene Vincent at the same gig with Ian Dury and the Blockheads. The sound is a big improvement on his Munich (probably) 77 footage; it's from the desk and in excellent mono. It's also lip-synched unlike the earlier film.
The Video
The video starts a third of the way into an excellent London Calling (missing from the audio tape of the gig). There is then a short interview with Joe and Paul dressed in their black crombies and trilby's, who explain the band's changes since Wolfgang last filmed them. Joe;" Instead of using the hammer, we're trying to be more subtle with it, first we'd go to hit to hit you right in the middle of the head with it a 100 times ("now we're behind you!" Paul adds) Now we'd like to … a few strokes of the hammer here and there is more powerful than .. " pounding his arm up and down like a hammer.
Police and Thieves crashes in and this time we get the whole song which includes Joe's improvised lines "You read in the bible, page No.1! that's Genesis to Revelations, now what generation can you tell me, I did not know, I was not brave.." This ties in with the bootleg audio recording further confirming this as the date, along with the Blockhead's footage.
Another short interview "Can we do the same thing all the time, this is the question. No then you're just dead, you do the same thing who wants to know, makes people sick in the head to do that, so we have to always try new things and like everyone's a load of like sheep going its horrible, its nice, but they don't fucking know, only we know what we're doing and obviously we think it's for the best, anyway we can play, we can handle it better now, so we don't disguise that, we try to play as good as we can (short clip of Munich 77 - Janie Jones) Obviously we've spent 4 year's playing now non-stop, obviously we must be 4 times better otherwise we'd be pretty much idiots, huh?"
There's then an all too brief 35-second clip of Complete Control. It would be great if like the earlier video it could be released on DVD with extra footage.
Open photos in full in new window
Photo courtesy of Alyn Currie @ www.punkrockposters.net
PHOTO advert Mark Jordan Aylesbury 1980
Simon Flower - The Clash Aylesbury Friars Jan 5 1980 - knew I had ‘em somewhere
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There are several sights that provide setlists but most mirror www.blackmarketclash.co.uk. They are worth checking.
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ARTICLES, POSTERS, CLIPPINGS ... A collection of A collection of articles, interviews, reviews, posters, tour dates January, February 1980 covering the period the 16 Tons tour of the UK.
VIDEO AND AUDIO Video and audio footage from the tour including radio interviews.
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