Bonds Residency
Supported by the Lee Perry with the Majestics
updated 9 Jan 06
updated 28 Dec 2008 - added support info from Duncan Wells
Source 1 – cdr - Source 1 - cdr - distant clear - aud. master - Sound 4 - time 107.06min - d-mast - tracks 26
Source 2 – cdr – less distant – audience - Sound 4 – time 82.38 – 2nd gen – tracks 21
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 Venue
See 28th May review
There are two audience recordings in circulation:
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.
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!
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London Calling |
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Any further info / reviews
appreciated
2. Newspaper & Magazine Articles
Band Arrives at JFK
3 newspaper photos
Private Super8mm film footage of the rucus outside Bonds
30 April New York Post
On the Town
New York Calling The Clash
..tickets go on sale tomorrow...
2 May - New York Post
10,000 Clash fans queue for tickets for only US appearance
6 mounted police and 12 squad cars to control the crowd
NME - Win a week in New York with The Clash!
Early May - New York Post
Bonds Sold Out - Christgua
Blister Fanzine
A weeks at Bonds (main piece)
Cover Only
BMC desperately wants the inside pages!!
NYC Advert for Magnificent 7 & Bonds dates
24 May - New York News
Passport Impasses Crimps Clash's style
5 British Groups left at Heathrow
Clint Roswell
New York Times 24 May
scan or text
26 May - New York Daily News
Clash Promise 'Something Special'
Clint Roswell
29 May - New York News
For Bonds Disco it was double capacity or nothing. Police and Fire Dept shut down Bonds. Vincent Lee
30 May - New York News?
city and Disco Clash, and Clash cools it
Disco forced to close - extra dates
Larry Sutton
30 May New York Post?
City calls a truce in Clash wars and the band plays on. Building Dept Inspectors have lifted a vacate order...
31 - May New York Times?
scan or text
Stephen Holden
31 May - New York Times Gig review
The Clash rocks with raw energy
Ira Mayer
New York Times June 3, 1981
Clash Melee Points Up Danger of Overselling
by Robert Palmer
Bondage at Bonds (full text version)
Creem - Sept 81
Clash face unrully mobs - Bondage at Bonds
Michael Barnard
First page only
Under Fire in New York - NME
Clash forced to lplay 16 date season after ticket fiasco - When the Clash landed at Kenney Airport last Tuesday, it was nore than clear that America wanted the band... Mick Farren
How The Clash Fed The Wonderbread Generation, Made The Mountain Come to Mohammed - And Other Miracles
Mick Farren, NME, 20 June 1981
The winner of NME's Flatter The Clash competition checks out the ramifications when an English band's world is at Bonds. KOSMO VINYL shoots both fists heavenward, for all the world like a man who had just scored for West Ham at Wembley. "I got the news on every channel! I got the news on every channel!....
Boston Rock Summer 81 No 19
1.. 2.. 3.. 4..
Face NO 16 August 1981
1.. 2..
MOJO Clash Special No79
pages 1.. 2.. 3..
Fanzine piece by: J Blocher
can some1 transcribe this it is very poor
Clash Contre Mafia - French Mag
1.. 2.. 3.. 4..
translation required
Anne Toone from The Bloods remembers opening for the Clash
The Clash on Broadway Part 1
Chris Salewicz, Mojo, August 1994
IF THERE WAS ONE PIVOTAL EVENT IN THE HISTORY OF THE Clash's assault on the USA it was the season of 17 shows they played at Bond's, a tacky former disco on Broadway and Times Square, New York, New York in May and June 1981.
The Clash on Broadway Part 2
Chris Salewicz, Mojo, August 1994
Joe Strummer talks to Chris Salewicz. When was the first time you toured America? I think it was in 1978. We went to finish off Give 'Em Enough Rope in San Francisco. So it would have been to tour that.
Best Magazine [French]
6 page review with photos form Bonds
...page1&2 ...page3&4 ... page5&6
3. Posters, video, photos
The Clash @ Bonds NYC 1981
joe streno's blog
Photos, comments
Posters and Radio / TV Commentary
Radio interview with Mick/Kosmo backstage after the opening night
Bonds Photos 1
1.. 2.. 3.. 4.. 5.. 6..
Bonds Photos 2
1.. 2.. 3.. 4.. 5.. 6.. 7..
Clash & Slits at Bonds 1981 photos
{ joe streno } seattle wa
www.go2jo.com
Radio Commentary on ticket fiasco - 20mins
NBC TV on ticket fiasco 3mins video
CBS Live tapes
Quote, "Eventually, via Jeff Jones at Legacy in New York, I contacted Bruce Dickinson who'd worked at CBS in the 1970s and 80s and was a fan of the band. He knew of a company in the States who specialised in archiving live radio tapes. They had two nights of the Clash at Bonds on Broadway and two nights in Boston."
Bonds Photos
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...play on music: “6 Seconds To Watch” by Ennio Morricone, from For A Few Dollars More...Grandmaster Flash and The Furious Five are among the opening acts...after the first gig of the original seven-show run, the NYC fire marshall orders the club closed for safety reasons; eventually, the shows are rescheduled to accomodate all ticket-holders... A strike in Britain had left 5 British bands in the UK and only 3 managed to make it with the Clash. Only the Slits, Funkapolitan and The Equators, who were slated for the matinee shows, made it. Left behind were the remains of Selector, The B-People , The Bell Stars, Aswad and most of all Theatre of Hate whom Mick had produced their debut album. There were two opening acts each night: one British or Jamaican and one American. Hopefully the correct artists are listed by the correct dates. Support Acts included Grandmaster Flash and the Treacherous Three, The Sirens, The Sugerhill Gang, Funkapolitan, Lee Perry, Texan bard Joe Ely, and a forgotten horn-section-and-skinny-tie band called the Nitecaps. And, plucked fresh off the stage of CBGB's, Miller Miller Miller & Sloane and a KRAUT who had formed 3 weeks earlier with only 3 demo songs and who never played live. Plus bands that showed The Clash’s continuing identification and admiration for punk; The Dead Kennedys, Bad Brains, The Fall, The Slits, and The Bloods (not to mention The Brattles!). ESG a womans funk band from New York. The Rockets and the Equators were scheduled for the first matinee show which got cancelled.
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Bonds Times Square, New York |
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| Support The Sirens and Grandmaster Flash & The Furious Five
Thanks to Laura for the following info on the Sirens... From: "Laura DJ" <dejesuslauraann-at-gmail.com> i noticed you have the sirens on the tour date list from 81 as playing with treacherous three, that's not true, I was one of the Sirens, the guitarist, and we played after Grand Master Flash, and before the Clash. It was my idea to support the Clash. My manager charlie martin who built the sound system at CB's and Bonds was getting directions from the owners/managers who were in jail (studio 54 fame) and i had read an article in the nme or soho news or one of the music papers of the day and joe strummer said in the article they like all girl bands opening up for their shows. So i ran over to charlie showed him the article and suggested he get on the phone and reach out to his contacts and get the clash. The rest is history. He did it and we opened their first show at bonds. Grand Master Flash opened for us! |
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Bonds Times Square, New York | |
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May 30 |
Bonds Times Square, New York | |
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Matinee show cancelled by NYC Building Dept - Riots |
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May 30 |
Bonds Times Square, New York | |
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Evening show cancelled by NYC Building Dept |
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Bonds Times Square, New York | |
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Bonds Times Square, New York | |
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Bonds Times Square, New York | |
| Bad Brains and the Slits opened | ||
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Bonds Times Square, New York | |
| The Treacherous Three |
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Bonds Times Square, New York | |
| The Bloods opened the show f/b The Bush Tetras. |
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Bonds Times Square, New York | |
| Four female singers singing accapella and Lee Perry opened | ||
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Bonds Times Square, New York | |
| (afternoon) I was at the June 6th matinee show in 1981 in Bond's. The Dead Kennedys did NOT perform then. It was the Hi-School band The Brattles who opened the matinee show, followed by Funkopolitin. The "We love you clash" that is heard mid-show is caused by a mic that fell into the audience. Joe just watched kind of amused while these guys in the first rows yelled into the mic. After a while, the roadies got it back and set it up again. | ||
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Bonds Times Square, New York | |
| (evening) The Dead Kennedys? | ||
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Bonds Times Square, New York | |
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Bonds Times Square, New York | |
| The Fall were the support act. This is the pro-recorded concert. | ||
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Bonds Times Square, New York | |
| Allen Ginsberg makes an appearance | ||
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Bonds Times Square, New York | |
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Bonds Times Square, New York | |
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Bonds Times Square, New York | |
| (afternoon) Hi-School band The Brattles opened the matinee show, plus The Rock-cats? who they had a slap bass and played Stray Cats-type music. | ||
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Bonds Times Square, New York | |
| (evening) The Dead Kennedys | ||
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