Impossible Mission Tour
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cdr - Gothenburgs's Burning - Sound 4 - time 99min - low? - tracks 25
The Clash returned to the Scandinavium, Goteborg where a year earlier they had produced an extraordinary performance, one of the best of 1980. Tonight’s does not quite reach those heights but is very enjoyable nevertheless, one of the best from this 1981 European tour. As with the 1980 concert a very good audience recording circulates of the whole of this concert too.
In Copenhagen the night before The Clash delivered some exceptional performances but only in patches and the older material from 77 lacked energy and intensity. Gothenburg is overall a much better performance, the older songs tonight are played with fire and passion but conversely there are no really exceptional performances.
A Norwegian paper Nye Takter, reviewed the concert and interviewed the band afterwards (see link). Thanks again to Lars Martennson for providing a translation;
"I understand most of the article, there's nothing new in there I think. First is a review of the gig, Topper is praised for his drumming and that he holds the band/gig together. Then the writer visits the band in the dressing room after the gig, talks with Paul, asks why they didn't play Norway (“We can't play every city”) and the single with Mickey Dread etc. Overall the writer thinks that The Clash’s success is due to them being four down to earth blokes."
The article is entitled ‘Funk Punk a la Clash’ which sounds like lazy journalism but is not an inaccurate description of much of The Clash’s live music in 1981. The influence on the band of the emerging rap culture is obvious on the “rappo-clapping” songs from Sandinista and the new Radio Clash but is apparent also on the overall live sound which is much less guitar dominated and song structures are loosened greatly to allow improvisation.
When the band mid-song get in a rhythmic groove they extend it James Brown style. But the process of transferring the new songs to the live stage within the limitations of two guitars, bass and drums necessarily means they sound harder, more rock’n’roll based. The result; punk funk a la The Clash!
The Venue
The Scandinavium, is a large sports stadium typical of the venues on this tour, and remains a major entertainment venue today.
The best circulating recording of this gig is a very good clear audience recording from a source very close to the master. It is one of the best recordings from this tour with very good clarity and detail. The drum sound is highest in the mix and crystal clear making this an ideal recording to appreciate Topper’s superb drumming on this tour.
Vocals are also very good only suffering a touch from distance. In keeping with the sound mix on this tour Joe’s guitar is clear in the mix as is Mick’s but his varies on different songs; fine on some but too far back on others, resulting in some songs lacking punch.
A lack of bass is the recordings main fault, with Paul’s playing barely audible on most songs. There is some hiss and distance but if you ignore these deficiencies and crank up the volume this is still a very enjoyable sound.
One previous copy was edited down to a C90 (with One More Time out of place) and slightly lesser sound (but still very good). Tracks marked with asterisk denote missing on this version.) Other poorer quality recordings also circulate.
The recording begins with the Enio Morricone intro faded in and then its straight into a fast, urgent London Calling. The levels rise and fall at the start of the song, Joe’s guitar is very clear but Mick’s solo is too low in the mix to be effective (as usual on this tour). Joe is clearly up for it barking out the lyrics on a fine Safe European Home and Mick plays some great guitar fills over Topper’s brilliant drumming. Topper‘s drumming is a standout highlight of this concert; it had never been as inventive and varied as on this tour. Topper was clearly revelling in the range and diversity of music that the band were now playing.
“Brand new chord” shouts Joe at the start of The Leader, one of the weaker songs in The Clash canon but on this recording it sounds great, with plenty of depth and rockabilly drive. Next Mick picks out the intro to Somebody Got Murdered, whilst fine is not as effective as some earlier performances although Topper’s drumming is really on the money!
“We’ve been here before, alright then now is the time for Hammersmith Palais” A good performance with a vocal scream/cries ending instead of Joe’s usual adlibbed one. Next Joe says “And now since you’re looking pretty crushed…” “Guns of Brixton” interjects Paul but the bass (played by Joe as always) is barely heard on his song. The performance is a definite improvement on Copenhagen the night before, tighter and more effective.
Lightning Strikes gets a longer instrumental section as the band get into a James Brown funk groove and hold it. “Here’s the guitar masterpiece!” announces Joe before Complete Control, with its new arrangement that builds slowly, and draws out the drama from each musical section of the song. Tonight is a better performance than Copenhagen but with the lead guitar too far back in the mix it’s hard for it to be a guitar masterpiece!
“And now lets have the spotlight on Mr Topper Headon” Joe shouts as Topper begins his now extended intro to Corner Soul. Joe sounds breathless, such an intense song as Complete Control made more sense as a set or encore closer (as it would later become) not placed mid set. Topper’s drumming is great and he puts in a good performance on his Ivan Meets GI Joe.
Their newest song Radio Clash is again a highlight, getting an extended treatment with some great drum fills - a delight. “Saigon Calling” announces Charlie Don’t Surf, a fine performance but with no adlibs from Joe. The music drops down almost to silence, the crowd clap along, then Topper’s bass drum builds and builds into a final chorus.
A lengthy pause (and edit) before Joe says “Alright are you ready now, swing it, swing it” and the band kick into a fine Magnificent Seven which gets into a great ‘punk funk’ groove! Bankrobber is very enjoyable again with the band playing a different arrangement with subtle changes every night. After a weak start from Mick, Wrong ‘Em Boyo is soon back on track. Mick’s guitar is right back in the mix on his Train In Vain with Joe’s guitar dominating the sound.
The concert really starts to peak now with Career Opportunities, which thunders along with great energy. “Clampdown” shouts Joe and the band launch into a powerful performance with Mick playing some great guitar over the intro. His guitar sound is much more to the fore now, a case of shoot the sound mixer on this tour! The band ekes out every bit of drama from the song with Topper’s drumming a particular delight. Before the final apocalyptic climax the song drops down to drum and bass with Joe beginning an adlib “500 miles under ground” but then stops without any inspired Strummer rant! His echoed cries and screams make up for it though, a very enjoyable performance.
The band leave the stage and the recording continues with the lively audience stomping and clapping for more. Topper returns and plays a long drum intro, suggesting Armagideon Time but as the beat drops down amidst cheers as the rest of the band return, it’s the gentle intro of Jimmy Jazz. With the lead levels fine now Mick plays some great guitar to the extent that Joe says, “take another” and Mick continues to improvise around the melody. The band again are obviously enjoying playing Jimmy Jazz and the freedom to improvise that it allows. Joe does not add great adlibs as at Copenhagen but the band kick up a storm, a definite highlight of the concert.
Next the opening chords of One More Time ring out, the bass is there just and Mick plays some great guitar lines. Not an exceptional performance but very enjoyable nevertheless. A fine Spanish Bombs follows with again the lead fine in the mix. Brand New Cadillac sounds great and the encore closes on a high.
A lengthy gap follows as the audience call loudly for more and are rewarded with a second encore beginning with Armagideon Time which although is again rather unstructured is powerful nevertheless with some great committed vocals from Joe. The concert ends with 2 blasts of punk energy, played tonight with passion and fire (unlike the previous night in Copenhagen). As an urgent Janie Jones ends Joe strums his guitar then screams “Gothenburg’s Burning” and the band kick into an appropriately storming finale to a very fine concert.
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1 |
London Calling |
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Nye Takter
Any further info / reviews
appreciated
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Barcelona, Spain |
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Madrid, Real Madrid basketball stadium | |
| Gig reviewed in Record Mirror 9 May 81. Gig played in front of 7,000 | ||
| Apr 30 | |
Cascais, Portugal |
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Lisbon? | |
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Velodromo de Anoeta, San Sebastian, Spain |
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Bordeaux, France | |
| Joe IDs this date and gig the following night in Lyon before the first track | ||
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Palais des Sports, Lyon, France |
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Palais de Beaulieu, Lausanne, Switzerland | |
| May 7 | |
Zurich [venue unknown] |
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Hippodrome de Pantin, Paris, France |
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Palais St. Sauveur, Lille, France |
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| In 1981 the gigs at Lille and Amsterdam were supported by the Belle Stars (they were travelling on the tour coach which we bummed a ride on!), I think they did most of those European dates. J Heath | ||
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Japp Edenhall, Amsterdam, Holland |
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| In 1981 the gigs at Lille and Amsterdam were supported by the Belle Stars (they were travelling on the tour coach which we bummed a ride on!), I think they did most of those European dates. J Heath | ||
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Forest National, Brussels. |
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| Support act included The Belle Stars and Vic Goddard & Subway Sect. Thx for info. Entry 300 BEF (£5.00) |
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Musikhalle, Hamburg, West Germany |
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Idrottshuset, Copenhagen, Denmark |
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The Scandinavium, Gothenburgh, Sweden |
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Isstadion, Stockholm, Sweden |
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Eissporthalle, (West) Berlin |
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Circus Krone, Munich, West Germany |
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Velodromo Vigorelli, Milan, Italy |
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| May 22 | |
San Remo |
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Stadio Comunale, Florence, Italy |
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| May | Rome - cancelled | |
| the proposed Rome concert never came together- problems with Bernie | ||
| The Bullring, Milan?? |
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| Usually Londonderry boot LP. Probably did not take place. | ||
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From: "Rikard Gustafson" <rikard.gustafson@tjelvar.org>
Various State Recordings
Sweden 1984
The Swedish radio broadcast the the gig the night after Stockholm ’84 and the producers worked really hard on presenting the new tunes but started up with London Calling. Unfortunately my tape was damaged.
Stockholm 81
The ones I recorded myself when we followed them around the whole fxxxing globe I sent to my parents so they were intact. We recorded two sources.
From what I can recall the SQ was superb but when we pressed our copy of Stockholm ’81 we used my source (It was named “När Djurgår’n fick flytta ut för The Clash” b t w) and Michael, a friend and fellow punter placed his tape recorder in front of the master board.
This alternate source was later used for “Stockholm’s Burning” and it sounds a bit better but this source has this guy who’s talking all the time between the tunes. My source has the idiot who screams “White riot!” behind me when Joe talks. I like mine better but everyone else prefer Michaels…
European State Radio Stations
Greek Radio 85
The Greek state radio recorded this show. (I contacted them a long time ago) but all European state archives are closed for people outside; we can’t buy or hire.
Swedish Radio
When I asked an old Clashist friend and journalist on SR ( Swedish Radio ) what had to be done to get all those shows ( Malmö, Lund, Örebro ’77, Eriksdal ’80, Stockholm and Gothenburgh ’81 and ’84, they have them all – complete with perfect sound!)
I got the answer that if a show is asked for by more than 1000 people they’ll put it on the list for P3 Live, a live show every night at 21.00. (Have a look att www.sr.se and go to P3 Live and see the program and old shows.) Unfortunately it’s only 1 hour and therefore edited.
