Bonds Residency (evening) Three weeks & 17 gigs that shook up New York and America. Support The Dead Kennedys. Opening Acts The Bloods and The Bush Tetras. List of support acts

Alternatively it is suggested that the opening act was The Rockats -
- rockabilly band that pre-dated the Strays.
- Album out on Island at the time was Rockats Live At The Ritz. - `
Pics (including some from the Bonds show) here:

last updated 19 Feb 02
last updated 12 April 2011 with Rockats info

Audio 1 - DAT master

Sound 3.5 - time 2 hours - 30 tracks

Trian in Vain

Official - From Here to Eternity

from the 9th not the 13th

From Here To Eternity includes Train in Vain, Guns of Brixton and Complete Control from this concert, it misdates it as the 13th. The Clash on Broadway Box Set includes Lightning Strikes with the correct date. We now know CBS/Epic recorded both the 9th and the 8th Matinee shows, which explains some of the confusion. The performance of Bankrobber on FHTE II is the only recording circulating from the 8th June CBS recording.

The FHTE tracks unsurprisingly have the very best sound of all, having been professionally mixed and mastered.

From audience DAT master.

The only recording in circulation is again from the very remarkable taper who recorded almost all of the Bonds residency; an amazing feat and one deserving of our utmost appreciation! His original master tape was transferred to DAT like the others and this one is clearer than most. Bass is almost buried but then this taper’s equipment was not able to capture bass sounds with any real clarity anyway.

The downside as always is distance; that lack of in your face quality that makes for the most enjoyable recordings.

Unfortunately from Pressure Drop onwards the sound quality dips becoming shriller and thinner.

Video Full multi camera shoot

Never released except two tracks, Guns of Brixtion, Charlie Don't Surf on unseen Sony compilation. See here

Marathon run of 17 concerts at Bond’s finally concludes

The Clash’s marathon run of 17 concerts at Bond’s finally concluded with this appropriately marathon concert of 30 songs. Despite this being the second show of the day The Clash found the energy and commitment to deliver their longest Bond’s show with two long encores ending with an intense White Riot. This is one of the best Bond’s shows to seek out for the variety of the songs played and the quality of the performance.

With master recordings circulating from incredibly all 17 shows it is possible to make your own informed judgement on the quality of the now legendary Bond’s residency by The Clash. Bond’s was The Clash in consistently powerful, effective and professional form. Their ability to produce such vital and involved performances night after night on the same stage is remarkable.

However using Joe Strummer’s own criteria, none of the Bonds shows quite hit the incendiary peaks of their truly greatest performances. As Joe put it “.. There were those nights when it burns, when you cease to be anybody at all, you are just part of something, your hands take over, you don’t know what you’re doing or saying, it BURNS” [MTV 91]. Thanks to the circulating recordings you can decide yourself whether any of the Bond’s shows “burned” but surely it would be hard not to conclude that The Clash’s performances at Bond’s were indeed a remarkable event in the history of rock’n’roll and do substantiate their now legendary status.

Support acts

Re June 13, 1981 last (evening) show of the 17 NYC at Bonds.

------------------------
I see you have Dead Kennedys as opening act for the very last show, but according to the Annie Toone (The Bloods) article you've included as part of the Bonds history she says:

"Joe invited us two downtown white-girl bands to open for them on the last night of the run. We were over the marquee moon, I can tell you."

So according to her The Bloods and Bush Tetras opened that last show.

I see they are both listed as opening the June 4th show. Of course her memory could be off, as she repeats the legend (?) that Sugarhill Gang was one of the opening acts which I don't believe was ever verified or confirmed.

I just mentioned on the Loving The Clash Facebook page I wish someone would create a list of all the opening acts by specific show/date. It can be found piecemeal all over the web but never have seen such an accurate list compiled.

Hope all us well. D

This very clear recording, starts with the end of the ‘60 Seconds to What’ intro, swiftly followed by Topper’s counting in, a “Good evening” from Joe, and The Clash launch into their final Bonds performance with a fine London Calling. Joe sounds pumped up, enunciating each word in classic Strummer style. Safe European Home demonstrates again how their ‘tour muscles’ were now well and truly developed, they are super tight, powerful and professional. “Welcome to the sweat pit!” shouts Joe before The Leader acknowledging the enthusiasm of the fans in front of the stage!

The as always very enthusiastic Bond’s audience roar their approval for Mick’s Train In Vain. “OK You got enough room to move? This is one of New York’s classiest joints, so we don’t want any of this scum shrimp stuff!” says Joe before a fine White Man In Hammersmith Palais.

Radio Clash shows few of the improvised sections of the earlier Bond’s shows; the band focussed on the job and finishing the residency in style.

On an excellent Corner Soul Topper’s drumming is a delight, there is precious little evidence at Bond’s (to these ears) of his drumming suffering from his now well-established and serious heroin habit. There is the now usual extended build up intro to a powerful Guns of Brixton. The consistently excellent performances in this first third of the concert continue with a strong The Call Up, which also features a lengthy intro. Bankrobber is a typically at Bond’s highly enjoyable performance with little variations played each night. “Hold still, Hold still!” shouts Joe during a great instrumental break, Topper again in top form.

Before Complete Control Joe makes a cryptic comment (suggesting their weariness) of “Take out the papers and the trash” which comes from Leiber and Stoller’s Yakety Yak; “Take out the papers and the trash, Or you don't get no spendin' cash If you don't scrub that kitchen floor ,You ain't gonna rock and roll no more”

Mick plays the opening added intro slowly but then lets Topper’s bass drum take over, but Mick’s guitar sounds too distant to be really effective. Joe sounds tired the band forcing themselves through this last hurdle. There is an edit at the end.

“Baseballs strike!” shouts Joe before Lightning Strikes, he sounds fired up for this one and Mick plays some great guitar. Joe adlibs “New York, out of sight, Broadway, roach motel, crazy days” An edit or tape drop out loses a few seconds mid song which gets an extended improvised treatment. There is then a lengthy pause before Topper sings Ivan Meets GI Joe which unusually features some adlibs from Joe (sadly unclear).

“Saigon. General MacArthur” says Joe as Mick gently picks out the intro to Charlie Don’t Surf enjoyably improvising around the melody as the song builds. Not one of the best Bond’s performances of this song though. At the end of the song Mick’s Apocalypse Now sound effects are still continuing and in a typical bit of Strummer wit he jokes “And that’s just the hot dog stall!” A young woman then comes on stage to which Joe responds, “It’s Topper’s Mum! Can we have a microphone here?”

Then in something out of a Springsteen show the female voice asks, “Can I kiss you?” “Yeah” responds Joe quietly, and the audience applaud. It’s straight back to business though as Joe shouts “Don’t you ever stop…” and the band launch into Magnificent Seven with Mick screaming “You lot” as if his life depended on it! “Fuckin’ long in’ it” says Joe near the end but not as long as some of the earlier at Bond’s 8 minute versions!

Joe is in fine vocal form on Broadway, then before a fine if unexceptional Somebody Got Murdered something in the audience provokes him to shout “Its shit, beer, shit”. Joe’s intro to Police and Thieves is “Junior Murvin, Lee Perry, young gifted and black” Mick’s playing is particularly enjoyable, delivering a strong solo and Joe adlibs “54-46 was my number right now someone else has that number” referring to the Toots & The Maytals classic.

Clampdown is ferocious and super tight, as the band conjure up an aural nuclear melt down Joe adlibs “they put your whole body in a matchbox, (on it it says) where you were born, what’s your age, where do you go.” Topper’s thunderous drumming and Joes screams bring an excellent performance and the main set to an end.

After an edit the band come back on stage for an exceptionally long first encore.

Bob Gruen plays his bugle fanfare, and Joe says, “Who’s the bloke who wants this guitar? Hasn’t worked yet then, never mind that” then Mick screams “1-2-3-4” and Career Opportunities kicks off the powerful encores, the band fired up and enjoying themselves. There are plenty of changes to the usual encores with

Street Parade next, heavy with Mick’s lead guitar and battery of effects. A very strong One More Time follows with an edit at the end, which loses nothing. “Pressure on , pr..ess…ure” shouts Joe as the band go into a fine Pressure Drop. Unfortunately from here on in the sound dips becoming shriller and a little more distant.

On Washington Bullets, which features some great guitar playing from Mick, our old friend from El Salvador returns. The representative from the Democratic Revolutionary Front of El Salvador had not been heard for several nights and had taken a lot of stick from parts of the Bond’ audiences, however neither The Clash or he had obviously been swayed by it. He makes a similar speech to earlier nights “fighting to stay alive.. Reagan sends million of dollars to kill my people”.

After a lengthy pause; presumably the band deciding what next to play on this extended encore, they perform an intense, guitar heavy Armagideon Time. Back to 77 for a charge through a fierce Janie Jones and an intense New York’s Burning.

Joe says “Goodnight” but New York wants more and after an edit the band return for a second encore. Junco Partner (not played since the 3rd) has a long intro as all the band return to the stage and Mick’s effects are an increasingly present feature in the band’s sound, even on this song.

After a temporary pause the band crank it right back up for an intense Brand New Cadillac followed immediately by a fitting finale to the historic Bond’s residency of an intense White Riot; an exhausted but no doubt elated band adding a further chorus.

Did you go? Comments, info welcome...

Info, articles, reviews, comments or photos welcome.
Please email blackmarketclash

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 27 28 29 30

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 Somebody Got Murdered Police and Thieves Clampdown Career Opportunities Street Parade One More Time Pressure Drop Washington Bullets Armagideon Time Janie Jones New York Burns Junco Partner Brand New Cadilac White Riot

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