Bonds Residency. Supported by The Dead Kennedys & the Lee Perry with the Majestics. List of support acts

updated 9 Jan 06
updated 28 Dec 2008 - added support info from Duncan Wells
page updated - started May 2020

There are two audience recordings in circulation:

Audio 1

Sound 3.5 - time 1hr 23mins - 2nd gen - tracks 21
less distant - audience -

Magnificent 7

Audio 1 -
Sound 3.5 - time 1hr 46mins - DAT master - tracks 26
distant clear

Magnificent 7

Source 1:

From the audience DAT master, this is from the same taper who amazingly recorded almost all the Bond’s shows. The sound then is very familiar; a very good audience recording which is let down by distance problems particularly with vocals and a flattish sound that does detract from its enjoyment.
An edit loses the end of Clampdown but is otherwise complete.

Source 2:

From a 2nd generation tape this has significantly clearer vocals, the sound being less distant generally. Drums and guitars are very clear although there is distortion on the guitar on the ‘louder’ songs and the sound is predominantly in the right channel. There is plenty of audience sound near the taper but here it adds to the atmosphere and does not annoy. The sound is all to the top end with bass largely buried. However with tone controls turned up bass comes through reasonably well. Sound quality improves during Lightning Strikes and continues through to the end. Having been copied several times there is a loss of master tape crispness.

The tape was edited to a C90 tape and loses Safe European Home, Train In Vain, White Man in Hammersmith Palais, Guns of Brixton and Complete Control.

Which of the two sources is best is down to individual preference but a composite of the second source with the missing songs from the first, is probably the ideal unless of course an upgrade can be found to the second source master.

Playing their second gig of the day

Playing their second gig of the day, The Clash could have been expected to be on autopilot but the evening show is one of the very best Bonds performances with the band on fire for most of the show. If this were not enough to recommend the two audience recordings of this show, then there is the added bonus of the Lee Perry guesting on the Clash’s version of the song he co-wrote; Police & Thieves!

The Clash’s connections with the man called Rainford Hugh Lee Perry or The Upsetter or Scratch are well known. Throughout pre-1980s Jamaican music: as a singer, songwriter, talent scout, dub mixer, producer, and more, his direct musical contribution was enormous. Furthermore, his musical ideas have inspired not only his contemporaries, but musicians to this day, even in genres outside of reggae.

In 1981, Scratch toured U.S. cities, fronting a white reggae band from New York called the Terrorists. Several people who caught the shows said they were the worst in reggae history! Lee Perry and his band supported The Clash at Bonds the night before this show on the 5th June.

Lee Perry and Majestics

Thanks to Dunban May for the following info;

The band backing up Lee Perry at this gig was from Rochester, NY and known as The Majestics. They recorded one Lee Perry produced LP backing Lee Perry (one cut made it to the indie flick "Brother From Another Planet"). Since Lee didn't have a regular touring band at the time, they got the call.

Quite a testimonial for The Majestics, who by that time had existed playing Reggae for some time as a trio, rising from the ashes of Bahama Mama. who reigned supreme in upstate New York State since the mid-1970s. Begun earlier than THAT as the Putz Brothers, the band was comprised of Ronny Stackman on keys, trumpets & lead vocals, James "Gooma" Schwarz on bass & vocals, Lou LaVilla on drums & vocals, Charlie Freida on sax (solos) & Percussions, Ken Curry on sax, percussion & bg vocals and Jim Kraut on guitar, keys and lead vocals (who replaced Tim Chapman on guitar).

Stackman & Kraut wrote 98% of the group's original material which comprised easily half of their repertoire. They began by doing their favorite covers of Marley, Toots, Burning Spear, Lee Perry, Big Youth and increasingly obscure Jamaican import 45s and slowly began inserting originals. After luring multi-instrumentalist Kraut (who also had a backgrond as a superb classical & bluegrass violinist) from local country-rockers, OLD SALT, Bahama Mama really tool off. Kraut brought a cross genre gumbo into the group injecting elements of Talking Heads, Devo, The Beatles, Steely Dan and myriad new wave & punk bands gleaned from the underground DJ culture in town (I was at least Partially responsible)and the band began touring all over the East Coast, sharing bills with like regional outfits such as The Hooters from Philadelphia and the I-Tones from Boston. They produced one local DIY LP on the ARCHIVE label, funded by Rochester's new & used record guru and ex-Ken Kesey bus rider Dick Storms. The LP, 'Bahama Mama in Concert"(recorded 10/9 & 12/1980 in Rochester & Ithaca, NY) showcases 8 original tracks: 6 by Jim Kraut, 1 by Stackman and 1 by Lavilla. They have reggae elements, but are not PURE reggae per se.

Not too long after the LP came out, the band expired, with Jim Kraut choosing to retire from active playing to go back to school (he is now a psychiatrist). The trio of Stackman, Scwarz & Lavilla kept on, now as the Majestics. Ron began playing as much guitar as keys. The band's prior rep brought them to the attention of Lee Perry who called on them for backing on his Heartbeat LP, recorded in Jamaica. The Bonds gig came up and the band called Jim Kraut out of retirement to rehearse and play the gig opening for the Clash. There are some crazy tales about Lee Perry that bear repeating, like his propensity for scribbling on ANYTHING with permanent black magic markers, like hosts living room walls and on the pages of $75 high-end photographic coffee table folios.

After the gig in NYC, Kraut left again, but the band sought and secured guitarist Rudy Valentino, late of various local Heavy Metal Pop bands and a recording engineering genius to join the Majestics. There were several tape only releases and one vinyl EP that appeared as the group struggled on for a few more years. Fast forward to the 90s and they reappeared AGA as BIG ROOTS, but that's another tale completely. {Check the link below for more info)
http://www.bigroots.com/

The second source begins with most of the Morricone intro music, the first source with London Calling. The sound improves 30 seconds in on the 2nd source but there are some tape dropouts on this song. The band are in excellent form tonight and Safe European Home is no exception, Joe is fired up adding some adlibs and Mick shouts out the backing vocals with passion. “This song was specially commissioned by Margaret Thatcher” is Joe’s intro to The Leader.

The audience roar their approval after Train in Vain and Joe responding to the very enthusiastic audience says “I want to thank you all. To any of you people who were waiting in line and got pissed around by the cancellations, I want to thank you for your patience, this is (White Man in) Hammersmith Palais” There is absolutely no sign of complacency or tiredness after the matinee show and Joe adds “a bunch of fives” adlib, and then over the final section adlibs at length including “what you looking at?, who me mate, yes you mate!”
“This is Radio Clash. Say hello to Frank Sinatra!” and again Joe comes up with some adlibs during a fine performance. Over the intro to Corner Soul Joe says “This means you don’t have to punch anyone to be a man” After Hamburg 80 and other confrontations Joe had moved a long way from 1977 when he was advocating reacting to violence with violence.

Mick’s guitar dominates very effectively on a strong Guns of Brixton. The Call Up is particularly memorable with Joe singing over a lengthy improvised opening, “There is a rose, there is a bugler, there is a last post, there is a cemetery, there is an army, there is a station, there is a cemetery just for young people” at which the band build to the chorus. Bankrobber is terrific too, the band literally as tight as a drum with Topper’s terrific drumming showcased over an extended improvised ending.

There is an edit just before Complete Control on the first source, which restarts straight into the intro again, which is without Mick’s extended build up heard on FHTE. It is though another ferocious performance of this song at Bonds. On the second source the sound dips at the start of Lightning Strikes but at 2/3rd it improves to the best sound yet, vocals , guitars and drums now very clear indeed. Joe responds to Mick’s excellent playing tonight by adlibbing over Mick’s solo “want money, want justice, want freedom, how hungry can you get”

The weakest part of the concert again is Ivan Meets GI Joe, but things pick up again with Charlie Don’t Surf which Mick intros as “this is a song for the veterans on hunger strike” presumably a reference to a protest by Vietnam vets, rather than the IRA hunger strikes. The performance, unusually tonight, loses its way meandering somewhat to a conclusion. Magnificent Seven next though is excellent, Joe adding “evening time and Walter Cronkite is on the television” and Joe jokes “fucking long innit” (not for the last time!) before Joe shouts 4-3-2-1 and Topper ends it. The audience roar their appreciation.

Broadway is fine with Mick’s guitar fills very clear. Next is a special treat for the audience and band alike, which Mick signals with “This is the man who wrote the song”, and the band kick into Police and Thieves. Mid song as the band drop it down Joe sings “Lee Perry, The Upsetter, singing Police and Thieves in the street…” Lee Perry’s vocal contribution to the song is typically unorthodox, shouting then screaming “next generation” and name checking The Clash. Joe and the band pick it up again and then as the music again drops down Lee continues as Joe moans in the background!

In the Lee Perry biography, Perry joined the Clash on stage for "Police And Thieves". Perry's band at the time, The Majestics, were an opening act.

At the end of the song Mick says “last one for tonight except for the encores 1-2-3-4 “ but Joe interrupts the imminent arrival of Clampdown with “Wait, Murder!” and Mick responds with the intro to a very excellent Somebody Got Murdered.

Mick’s playing is inspired as is Topper’s, the band are on fire now. A short gap then Mick screams “1-2-3” and the band launch into a terrific Clampdown. The guitars dominate the sound, Mick firing off razor sharp barbs of guitar as Joe barks out the lyrics. Toppers thundering drums then drop down and just when it seems Joe is not going to go into a Strummer rant Joe launches into one! - “They’re coming to your house, they’re knocking on your door, (you’re still?) being pushed around. please!” and Joe carries on in classic Strummer unintelligible fashion as Topper thunders on before bringing the song and the main set to an end.

The first encore begins as usual with One More Time with an ‘atmospheric’ guitar intro start. A strong, if not again at Bonds, exceptional performance. The energy and intensity levels then peak as the band tear through three blasts of raw rock’n’roll; Brand New Cadillac, Career Opportunities and Janie Jones. The audience roar for more with The Clash’s mantra “Let them now” still ringing in their ears.

The second encore begins with Armagideon Time with Joe adlibbing “Armagideon it comes from the good book” Mick’s guitar work is inventive but it lacks again at Bonds a roots reggae feel; being too one paced. Jimmy Jazz though is always welcome as it allows the band to stretch out and Joe to adlib a plenty. Again he does not disappoint mid song adding “..all of a sudden they came and interrupted the game, said put down your pool cues and get up against that wall…now I don’t know anything about this man called Jazz, I don’t know if you can smoke him or ?..” Joe spells out J-A- Zee-Zee as Mick matches the approach with his guitar licks then the band pick it up again and Joe adds “They said that’s right Bro, you got the man we’ve been looking for all around. What are we gonna do with him.. Sattamassagana for jimmy dread, cut off his ears and chop off his head!”

“New York's Burning” screams Joe as the band launch into the now usual intense finale, ending a very enjoyable performance. The exhausted Clash at least now had their one day off at Bonds to recover!

Did you go? Comments, info welcome...

Info, articles, reviews, comments or photos welcome.
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Setlist

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26

London Calling Safe European Home The Leader Trian in Vain White Man in Ham Palais Radio Clash Corner Soul Guns of Brixton The Call Up Bankrobber Complete Control Lightning Strikes Ivan Meets GI joe Charlie Dont Surf Magnificent 7 Broadway Police and Thieves Somebody Got Murdered Clampdown One More Time Brand New Cadilac Career Opportunities Janie Jones Armagideon Time Jimmy Jazz New York's Burning

The drama of the Bonds residency

1 2 3 4 5 6 7 8 9 10 11 12	Background Bonds Residency The Clash arriving in New York and the build up News Reports video and audio The Ticket Fiasco The remainder of the residency History of Bonds Longer history of Bonds Posters and adverts Badges, FSLN handouts, flyers, Clash press release ... Clash on Broadway Reels List of Support Acts

1. Background: The Clash at Bond's

Italy to New York
When The Clash landed at JFK airport in New York on the night of the 25th May 1981 they had no idea that their residency at a Broadway nightclub would create such a furore and nationwide media coverage that it became a pivotal event in their assault on America, helping to propel them into the major league Stateside. As Kosmo Vinyl has succinctly put it, “People who didn’t have straight trousers and short hair suddenly knew who we were. It got out - it was big!”. The Bonds concerts became one of the most enduring aspects of the Clash legend. ... more ...

2. Residency

The remainder of the press coverage once the bad had agreed to ensure all ticket holders got in by adding 8 more dates.

3. Arrival

A collection of articles covering the bands arrival into New York including previews of the week. Also includes the WNEW preview broacast with Meg Griffin.

4. Bonds News Reports
Audio and video reports covering the ticket fiasco. Fascinating watching / listening that captures those three days well. Includes notes.

5. Ticket Fiasco
Numerous articles and audio and video reports covering the ticket fiasco.

6. The remainder of the residency

7. History of Bonds

8. Longer history of Bonds plus old photos

9. Posters and adverts
Bits and pieces inclduying all adverts and posters.

10. Badges, FSLN handouts, flyers, Clash press releases ...

11. Clash on Broadway Reels
What was filmed and what happened to it?

12. List of Support Acts

13. Photos
Random phonts bundled here.

14. Comments
Comments for those who attended one of the gigs