Support: The (English) Beat

updated 15 Sept 2012 - added full review

Audio 1

Sound 3 - 1hr 25min - master - tracks 24

Bankrobber

Audio 2 - LP - Stinkfoot in Hollywood LP

Sound 3.5 - 52mins - LP - tracks 13 

Bankrobber

Sources, quality

The full recording

One audience recording circulates which is complete and very good quality. A 1^st generation version has been posted on Dime but a master copy via Jeff Dove has a touch better sound. 

Stinkfoot in Hollywood

The ‘Stinkfoot in Hollywood’ LP is from the same source, in a notch lower quality and is incomplete with 13 of the night’s songs. Originally a Dutch limited release of 500 on black vinyl it was later re-released on red vinyl with the same cover but different labels. 

The master recording is very good but not great; little flat and distant and bass weak but still the best of the three Hollywood Palladium recordings and one of the best from the tour.

There is some digital clipping at the start of Straight to Hell, not present on the Dime 1^st gen source so a result of the transfer from master tape to digital. 

Probably the best performance

The fourth night at the Hollywood Palladium was probably the best performance of the 5 night residency and certainly has the best sound of the 3 recordings in circulation. 

Dave McCullough was their on the 18^th  and wrote very positively of it in his substantial piece in Sounds; ‘Sten Guns in LA’ (17 July 82) [link] “Playing as hot as in punk days but now with enough skill to send them to heights of great beauty now” He wrote they played almost exclusively only the 1^st and 2^nd album material (not true only 8 out of the 24 were pre London Calling) and said they “performed with fresh faced élan you wouldn’t have credited short of reincarnation” 

The Clash were back in favour with the UK ‘inkies’ after the release of Combat Rock. McCullough’s piece is in keeping with that, but he appears genuinely enthused by the performance; seeing it as a return to The Clash of the punk days when he had been such a fan of the band. Key to that he said was Terry Chimes the “star of both shows” who got that “raw back beat going again” Joe was  pleased with McCullough’s comments and support for the sacking of Topper. Joe “I think we’re really desperate, really hungry again. Because Toppers left and we feel vulnerable again that adds a desperation, a franticness to everything and that feeds the old stuff really well.” 

This performance is certainly one of the best from this tour, the band’s full on energy is audible with Joe pumped up and Mick’s playing more effective and inventive than on many nights on this tour. Terry has had time to settle back in and learn the songs but surely the loss of musicality AND excitement in the performances following Topper’s sacking is clear to hear.  Tonight was perhaps one of the few nights of this tour he was able to kid himself that he and the band had made the right decision over Topper.

Joe had also been delighted that one of his idols had been at the show on the 17^th; “Dylan came to see us even though we were not good on the night - he’s said to have been recording rock’n’roll again the next morning!” Dylan’s teenage son of course Jacob was The Clash fan no doubt urging his family to see the band but there’s plenty of evidence too that Bob was already if not a fan then an admirer. According to Chris Salewicz, Columbia press officer Ellie Smith gave Dylan a copy of The Clash’s self-titled album when he was in England in 1978, which Bob loved. Dylan played “This is Radio Clash”, “Tommy Gun”, “Train in Vain”, “The Right Profile” and The 101’ers “Keys to Your Heart” on his show, Theme Time Radio Hour and partially covered London Calling live.

Tickets, passes

"yeah, anyone know this one… “

The recording and gig begins with “Good evening welcome to y’all London Calling to the faraway towns”. The levels rise and settle as the taper adjusts to the live Clash levels. The high energy start continues with Janie Jones; Terry thuds away on the bass drum but the bands’ collective energy tonight makes for more enjoyable performances than many on this tour. Joe is pumped up on  

Know Your Rights and again Guns of Brixton is impressive with effective guitar from Mick. Train in Vain is OK as always.

“Let’s have the lights on Jacko,- slowly the lights might come on, yeah, anyone know this one… “Joe sings the first chorus solo of Bankrobber before the band come in. A good performance but with Terry’s drumming it lacks musicality; it doesn’t swing. Magnificent Seven has plenty of energy but there’s little in the way of Strummer adlibs or band improvisation. 

“Yeah by the way forgot to introduce the man on the drums Mr Terry Chimes”

Wrong Em’ Boyo is very enjoyable as is a strong tight Rock the Casbah. Joe shouts “Woah, Woah” in imitation of a Police siren which either heralds the start of Police & Thieves or as here, Police On My Back. “They said release Remote Control” intros Joe and the band launch into Complete Control working hard to whip it up of old but it does not match the song’s former live glories of this Clash classic. 

Radio Clash is strong and features some strong guitar from Mick but the effects he’s using makes an ineffective strangulated electronic noise. After an energetic Clash City Rockers Joe says “OK next one is, we got some Reaganomics. Thanks to President Reagan this next one is even more topical - especially to you lot!  Talking about C. A. R. E. E. R. S.” and band slam into a strong Career Opportunities

“Mick Jones for this next one” his Should I Stay or Should I Go is fine

but Brand New Cadillac is excellent, a highlight. Clampdown is again a pale imitation of the best Topper performances but Terry works hard and as the band drop it down Joe adlibs “Yeah, Three Mile Island, I hear something ticking …? ? until someone shouts out Ban The Bomb!” End of main set.

If the main set performances are strong the encore performances stand out and include the first example of the band segueing into (or out of) Armagideon Time. “Junior Murvin and Lee Perry” shouts Joe as the band return for the first encore with Police and Thieves.  Mick’s guitar is clear and effective and Joe’s in good voice. They keep the effective dub ‘drop out’ bass only section and then Joe says  “Now we step forward into Armagideon Time” The band must have been working on the segue so evidence The Clash were still moving forward musically post Topper although not to the extent of previous years/tours but with Terry back (only a few weeks) realistically their options were limited. Terry thumps away but there’s now renewed interest in the song with the introduction of Ranking Roger from the support band The Beat. Joe introduces him with “rrrrrrrrRoger, rrrrrrrrrRoger and Roger toasts along including “a lot of people won’t get no sex tonight” “What do you say Roger” jokes Joe in response. Joe comes back on lead vocals to end the song; a highlight. Mick then picks out the intro to Somebody Got Murdered which builds effectively and the band deliver another pumped up performance. A fine encore ends with I Fought The Law.

A second encore, by no mean guaranteed on this tour starts a really tight and effective Straight To Hell. Joe sings with conviction and Mick’s accompaniment is excellent. Safe European Home next is not exceptional but pumped up and effective. “Look out” screams Joe as Terry rips it up as best he can at the end of Garageland; closing one of the best performances (and recordings) from this tour.

Someone threw a shoe at Joe and it hit him

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