Know Your Rights Tour
Supported by Trouble Boys
updated 13 Feb 2012 - full gig review
Audio 1
Sound 3 - 1hr 34min - 3rd gen? - tracks 24
Career Opportunities
Sound Quality
Only one audience recording circulates although several versions circulate.
A version from Adam is a little inferior to one described as 3rd generation. Although a notch better quality, the recording sounds very similar to the first night tape so maybe from the same taper. It has a good full enjoyable sound capturing The Clash twin guitar sound well. Vocals good too but bass distortion presumably on the master tape is a problem. An upgrade nearer to the master would be very welcome.
a second night in Austin due to demand
The Clash added a second night in Austin due to demand for tickets. A good audience recording (notch better than the first night) captures one of the stronger performances from the tour including the addition of Joe Ely on the first encore, make this one certainly worth seeking out.
See the first night in Austin review for all the background info. Margaret Moser ‘s article in the Austin Chronicle http://www.austinchronicle.com/music/2003-01-17/122295/ includes how Alice Berry and her band the Trouble Boys came to be the support band going down much better than Stevie Ray Vaughan’s band, who they replaced.
Flyer
Clash = Cash protests
Anti Clash Flyer handed out outside
Disgruntled punks complaining that Clash=Cash
The flyer was handed out by a group calling themselves “the gutter snipes” voicing the same arguments as in Atlanta, that the band had sold out and that their ‘political’ lyrics were just a calculated marketing angle to boost sales.
An amended flyer was also circulated in Seattle see link with similar arguments here; Pistols were the real thing, The Clash a fake
Ironically the flyer quotes Situationist Guy Debord (1931 -94) a big influence on Bernie Rhodes.Bernie gave Joe and Mick Situationist literature as part of their ‘education’ back in 1976. Debord was a French Marxist theorist, writer, filmmaker, hypergraphist and founding member of the groups Lettrist International and Situationist International (SI). He was also briefly a member of Socialisme ou Barbarie.
In the 1960s he led the Situationist International group, which influenced the Paris Uprising of 1968 (in turn a big influence on Joe). Some consider his book Society of the Spectacle (1967) to be a catalyst for the uprising.
Tickets
City Coliseum, Austin TX
‘Near the southern shore of Town Lake, City Coliseum looked more like an aircraft hanger than a special events center. The reason for that is that is WAS an aircraft hanger, at least until the city of Austin purchased the structure from the US government in 1940 and converted it. The homely old building would go on to host many a gathering over the years and saw some up and coming artists play there.
In recent years the number of events staged there had dwindled as other venues sprang up. The nearby Palmer Auditorium, Austin Convention Center and even the Burger Center presented a nicer surrounding than the aging hanger. In recent years the city-wide garage sale and Carnival Austin were the major users of the facility.
The last event to be held at the Coliseum was the Austin Lyric Opera's production of "Rigoletto" on May 20, 2002. The destruction of City Coliseum did not raise any outcry. Still, some Austinites had some attachment to the place and the city saw a way to satisfy citizen interest and fiscal responsibility. So, on Saturday, October 19, 2002 the city and demolition company held an open house and sold for bottom dollar anything that was not bolted down. Well, anything that was not bolted down too tightly. A section of one of the brick walls was knocked down and bricks were made available for the taking.
"next for you is a Victorian folk song”
The only recording source in circulation includes all of the usual Morricone intro which fades as Joe greets the audience with a “Howdy you-all!” and the band launch into London Calling. Joe’s vocals are clear and committed with echo effects and Mick plays his solo straight. Clash City Rockers second song in the set sounds like a rallying cry to the band; hard and intense Mick & Joe belting out the vocals. A strong start.
“Please would you welcome with some of your Texas hospitality Mr Terry Chimes on the drum kit” Car Jamming is OK, the bass drum blown out on the tape, and particularly the ending of the live arrangement again lacks interest. “Here’s the big man”; Guns of Brixton has plenty of depth provided by Mick’s inventive guitar and Paul’s scratchy rhythm guitar. On his Train in Vain Mick, unlike for many songs, made only minor changes to the live arrangement over the years. The main interest therefore is Mick’s extended playing over the final coda but too often as here in 1982 there’s a lack of variation/inspiration.
“I’m afraid what we’ve got next for you is a Victorian folk song” and the band slam into Career Opportunities Again fast and exciting; the band were enjoying playing it again in 82. Magnificent Seven is not short of energy and commitment but with Terry it’s less inventive; similar each night. Joe leads into the bridge with “its time to cut out all the drummers and bass players in the universe”
“Alright going to the Black Ark” is Joe’s link into Lee Perry’s (studio) Police and Thieves. Mick again plays it straight on the solo; the ‘drop out ‘ section of drum and bass again the most interesting part. The song does not build well then and there is no rant from Joe. A just OK performance.
Joe introduces Spanish Bombs with “This is for all the wetbacks in the audience” [A slang term for Mexicans, especially illegal aliens. This slur stems from the fact that illegal Mexicans usually swim rivers to cross into other countries, also from Operation Wetback in 1949]. Mick’s playing is much more inventive here. “Woah, woah woah” screams Joe and Mick breaks into the opening chords of Police On My Back. Mick belts out his vocals with Joe continuing the woahs behind him!
After an edit Joe says “The following is a public service announcement y’all!” Mick and Joe’s interplay close to the ending of Know Your Rights is certainly different but not especially effective. In Strummer Spanish Joe then intros a strong Rock The Casbah. “I said down the road”; Joe’s favourite makes a rareish appearance and his strong vocals on Junco Partner with echoed screams makes for one of the most interesting performances on a good if not great night.
Brand New Cadillac is strong and energetic as is Somebody Got Murdered.
This is Radio Clash” with a funky riff at start; strong tight and effective.
Joe plays a few chords by way of introduction then Mick and band slam into the set closer, Clampdown (a new intro!). Although still nowhere near as explosive and exciting as the Topper performances (misses the Headon talent) Mick and Joe add plenty of energy. Joe adlib; “and I hear they ask on the street hey where is this eh clampdown, and what is this clampdown they ask, I say I don’t know but I say it starts ??? and it runs through every second of the TV and it’s pouring out of all the radio and its coming out of every measuring device, the Geiger counters…”
The recording continues through the microphone check and audience cheers to the first song of the encore, which is not Armagideon Time (unusually not played tonight) but Jimmy Jazz,(to vary the set from the first night. Jimmy Jazz rarely disappoints live and does not here. Mick plays a new clunky chorded intro which is actually rather effective and inventive. The song is not extended nor does it have a memorable long Joe improv although he does manage a “..deep down in the valley with Bonnie & Clyde to the west of Dallas in a bog, he was high..”” but it is very enjoyable and a highlight of the show.
“Can we get Mr Taco Burrito Mr Joe Ely out here!” shouts Joe and the two friends reprise their studio backing vocals on Should I Stay or Should I Go; thus a unique live version. Joe Ely then sings lead vocals on his ‘Fingernails long so they click when I play the pianner’ It’s a very raw and basic rock’n’roll accompaniment not helped by Terry’s limitations but enjoyable nevertheless. The Texas connection continues with I Fought The Law with Joe Ely staying on stage to lend backing vocals.
The second encore (one more than the night before!) begins with a shouted
“I’m in love with a Janie Jones woah” intro from Joe; the band hitting the audience with a three card trick finale of ‘punk’ favourites Janie Jones (the best), Safe European Home and Garageland.
Revolution Rock
Austin Chronicle - 17 Jan 2003
This repeats the two articles above.
Did you go? Comments, info welcome...
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Please email blackmarketclash
Terri Lloyd's experience seeking a support slot
Terri Lloyd wrote of her experience in seeking a support slot for her band and her personal encounter with Mick also here
Austin Chronicle
Career Opportunities ‘I have never worn a Clash T-shirt. No Clash poster has adorned my walls. I did, however, possess a Clash battery-operated clock once, constructed by myself, commemorating the first time that Mick Jones and Joe Strummer appeared onthe cover of Rolling Stone. The clock existed for many reasons. Certainly, in my circle, the regard for their music was worshipful. In fact, an earlier band I had been in had shunned their guitar tuners, preferring instead to tune to the opening chord of "Tommy Gun" (a perfect "E") before our shows. Joe and Mick were the punk rock Lennon/McCartney, and with their newfound status as Rolling Stone cover boys, they were in a position to be the punk rock ambassadors to the world. This was, of course, secondary to the fact that Mick looked really cute in the photo.
It was 1982, and Margaret Moser, Austin Chronicle music columnist and scenestress supreme, called to let me know that the band was coming to town a day early to shoot a video. I'd never been on Margaret's "will call" list, but in this case she was privy to a piece of information she thought I might find useful. The Clash's concert had sold out so quickly that the band had decided to add a second night and were looking for an opening band.
She suggested I go to the Continental Club that night and give a cassette of my band the Jitters to their manager, Kosmo Vinyl. When I got to the club, it was obvious that the word had spread, since the place was crawling with other hopefuls. I'd just given my tape to a very disinterested Kosmo when the Clash's road manager struck up a conversation with me.
Hearing I was a drummer, he introduced me to the band's drummer, also named Terry. At some point, I realized that Mick, in a big Panama hat, had joined us and was smiling at me. Yes, my heart stopped. Having had, as a 10-year-old, an entire wall papered with Bobby Sherman posters, this was the perfect culmination of all my post-post-adolescent fantasies. We talked for a good while. He seemed pretty interested in the clock, though I tried to gloss over the specific placement of the actual timepiece in proportion to his crotch in the photo.
After the concert the next night, having been given a backstage pass by Margaret after being sequestered in a room with her and two members of the StandingWaves, I found myself sitting in a row of empty chairs directly behind the stage.Gradually, the chairs began to fill with beautiful women that I recognized fromthe scene. Could they be the legendary Texas Blondes? Several of them gave mecritically assessing glances so withering I felt obligated to assure them that wewere not there for the same thing. Sure, I found Mick compelling, but I wouldnever go up against a Texas Blonde and kid myself that I would get the guy. I hadno spike heels. I had no miniskirt. I was there for my band, and truth be told, Ifound some of the Blondes to be as compelling as Mick.
Eventually, they opened up the huge backstage area, and everyone milled around,mingling with the crew till the band came out. Mick told me that there were twovans, one of which was going to Malibu Raceway, and did I have any otherentertainment suggestions for the evening? I remembered that reggae band theTwinkle Brothers were playing that night, so Mick, Terry, and Karla, the singerfrom Toxic Shock, along with assorted crew members, all piled in the other vanand headed over to Liberty Lunch.
Brazen American woman that I am, I offered to buy Mick a drink. Vodka andorange. He asked if there was anything else going on that night. If he was tryingto pick me up, I sure wasn't getting it. I mentioned that Charlie Sexton wasplaying at the AusTex Lounge, so the whole group went there and had drinks tillit was decided that it was time to return to the Sheraton Crest.
As we entered the lobby, Karla and Terry and the rest walked to the left towardthe bar while Mick and I walked to the right, toward the elevator. My moment oftruth and realization came as the elevator doors began to close, and Karla lookedback at me in wonderment. That's what remains in my memory most indelibly --her face as the elevator door closed.
What went on that night is probably what goes on in most hotel rooms. There wassome of that, and there was some political discussion. There was some channelsurfing for news of England, which had just invaded the Falklands. One thing wedidn't discuss was my band. Whether the opening slot for the next night hadalready been decided I'll never know. Call me naive, but I didn't think to bring itup. Once I got the opportunity to actually spend the night with him, I don't thinkI even remembered I was in a band. Given the choice between "career" and"heart," I saw his puppy-dog eyes and chose the latter. Some feminist.
Yet it was truly like something from a dream. He shyly mentioned that the nextnight he'd like to see what I looked like in a dress. My subconscious had a heartylaugh at that since I only owned one dress, and I didn't think Mick would enjoyseeing me in my Flying Nun Halloween costume. Suffice it to say that I waswearing my leather jacket and black jeans the next time he saw me, and save fora smile from the stage, he paid me absolutely no attention. I guess his interest inpolitics didn't extend to the sexual. Then again, I wasn't all that informed aboutthe government dole and the guns of Brixton. I think that we both got what wewanted out of the situation.
The clock battery ran down, and I never replaced it. I guess I didn't need to.”
Terri Lord
Extensive archive of articles, magazines and other from the Coast to Coast Combat Rock US Tour May June 1982
Full page - Strummer disappears, reappears saga- Adverts - Fanzines - International articles - Memorabilia - Snippets - Tickets, passes - UK articles - US articles - Video/Audio
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Setlist
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London Calling |
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There are several sights that provide setlists but most mirror www.blackmarketclash.co.uk. They are worth checking.
from Setlist FM (cannot be relied on)
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Also useful: Ultimate Music database, All Music, Clash books at DISCOGS
Articles, check 'Rocks Back Pages'
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ARTICLES, POSTERS, CLIPPINGS ... A collection of A colection of articles, interviews, reviews, posters, tour dates from May to June covering the US Tour period.
Extensive archive of articles, magazines and other from the Coast to Coast Combat Rock US Tour May June 1982
Strummer disappears, reappears saga
VIDEO AND AUDIO Video and audio footage from the tour including radio interviews.
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