Bonds Residency
Three weeks & 17 gigs that shook up New York and America.
last updated 3 March 2006
cdr - very good - aud. master - Sound 4 - time 116.56min - d-mast - tracks 26
After 14 shows in the same venue, on almost consecutive nights it would be inconceivable that The Clash’s performances did not suffer from repetition and tiredness. There is indeed a lack of inspiration and freshness on some of the song performances tonight and Joe actually speaks to the audience about it. However what is remarkable about the Bonds shows, (and testimony to the greatness of The Clash), is the overall consistent quality and energy of the performances night after night and although the Bonds shows are probably not amongst the very greatest of Clash concerts, they are all never less than highly enjoyable and exciting.
Venue
See 28th May review for details
From the audience master transferred from DAT tape, the sound is very similar to the others recorded by this taper, a little less distant than some but not quite as good as the best ones, like the 10th June recording. There is very good detail in the sound particularly on the guitars. Bass is there but typically blurred and the sound fluctuates a little as taper gets the best ‘view’ at the start.
The recording begins with the last few seconds of the Morricone intro music then Mick calls out “1-2-3-4” and the band slam into London Calling. Like the majority of song performances tonight it’s tight, hard and very enjoyable but not exceptional. Joe greets the audience which again at Bonds is very lively and enthusiastic with “Thank you, welcome, this is Safe European Home”. The extended ending goes on too long again and Joe fails to come up with any adlibs to make it more interesting. The main set list is now very settled and The Leader is followed by another strong Train in Vain which drops down to drum and bass again then builds impressively with the audience clapping along. Mick again is really into it playing some great guitar which is demonstrated on the improvised instrumental ending to White Man In Hammersmith Palais
On the newer songs like Radio Clash Joe sounds more intense, intoning here each word here with passion. Spanish Bombs is strong with some terrific lead guitar work from Mick. At the end of the song a weary Joe says, “You know we have to stand up here. We’ve been standing here for some time now and I know it’s not your fault but we need some encouragement” The audience though have been very enthusiastic and perhaps the comments were addressed more to himself and the band than to the audience. Whatever it works! The Call Up is intense, the band lock tight in the improvised sections and Joe adlibs “Well I sent these 2 out just to count them off, 2 by 2” Joe and the band are audibly pushing themselves to deliver more.
“Brixton” says Joe and another extended intro lacks some inspiration but Paul’s sounds though pumped up on his Guns Of Brixton. An edit at the end restarts cutting off part of Mick as he says “…you all sing along to” Joe then says “Max, max” and Topper comes up with a different, slower intro to an impressive Bankrobber.
In another swop round of the normal song order Lightning Strikes is next and Joe and the band are on it; great guitar from Mick and the band improvise powerfully. “Control” shouts Joe and Mick picks out the now usual intro which is not as effective as previously but then he stops and Topper’s sustained bass drum beat alone heralds the start of a typically at Bonds intense and powerful Complete Control. Mick delivers a very ‘straight’ solo and Topper thunders away over Mick’s soloing. The audience roar their approval at the end.
Ivan Meets GI Joe is next the recording capturing the two guitars well.
“Radio Saigon” calls Joe and the band conjure up another Apocalypse Now type soundtrack intro to Charlie Don’t Surf but unlike the previous night there is not the added bonus of Joe adlibbing over the top. It’s a very enjoyable performance though with Mick’s playing imaginative and effective and at the end of the song Mick says “This song is in support of the Vietnam veterans on hunger strike in Los Angeles its also for Ralph Cody(?)”
The second CDR begins with another powerful Magnificent Seven, Mick’s screamed “You lot” sounds great and Joe deadpans an adlibbed jibe at the new fashion “ear plugs stereo-oo ear-oles and nothing on! Walkman, Walk Man!” Not as extended as some previous nights but still very enjoyable.
As an introduction to Broadway (“took those right hooks”) and to get some audience reaction Joe says “Thank you, tomorrow night we have Leon Spinks versus Martin(vin!) Hagler”. There are heckles for Gerry Cooney “Oh Larry Holmes!” says Joe. Over the gentle intro Joe jokes, “Yeah I know its rubbish what do you expect Tchaikovsky, Beethoven, Chopin, Mozart or the Beatles!” Joe then starts singing but some feedback problems affect the mood, an unexceptional performance. Somebody Got Murdered is very strong though with Joe unusually starting the song scratching out the rhythm before Mick plays the melody line.
Topper beats out a drum pattern and then the band crashes impressively into the beginning of Police and Thieves. Mid song Mick curiously says “Although this song mentions the bible it does not include..? …Important questions the majority… its not a con, it’s a reference to the bible”. There are no inspired rants from Joe and the song rather runs out of steam as a result. Clampdown as always now ends the main set and its not as impressive as usual; Mick cocks up his verse starting into the verse and then mumbles for 2 lines to fill the space. Joe makes do largely with screams rather than a rant and what he does adlib is unclear. Topper’s thundering drums hold it together well though and the band leave the stage with the audience cheering for more.
An edit restarts with the first encore and a tight, impassioned One More Time. The band usually kick up a gear on the encores and tonight is no exception. Perhaps the highlight tonight is a rare outing for Pressure Drop which is tight and focussed not as ragged as the 8th June performance. Joe bangs out the rhythm and Mick plays the melody line in an arrangement that is akin to the recorded version. It’s played at a fast pace with an extended ending.
Washington Bullets next and at first it appears there’s no El Salvador speaker as following Joe’s usual shouted cue, Mick carries on singing the next verse and then the speaker starts but it’s a short ‘speech’ and the song ends fairly abruptly. The El Salvadorian speaker had been getting some flak from parts of the audience and as Joe plays his intro part to Brand New Cadillac a clearly annoyed Mick says “So you didn’t like that bit but you’ll like this bit as its probably what you’re girl? did”. The band are wound up and it’s a blistering performance Joe on fire screaming out the lyrics and unusually it’s the last song they play in the encore but the audience are screaming for me.
After an edit the band return for a second encore starting with a fine if unexceptional Armagideon Time. The band appear unclear what to play next then eventually Mick starts the gentle intro to Jimmy Jazz, always a live highlight and tonight is no exception. Mick plays a different variation on his guitar part at the start and Topper’s drumming soon turns harder with Mick playing a great solo. Mick’s playing is terrific here and he finds time to add his increasingly common now effects sounds. It just lacks an inspired rant from Joe to be really exceptional. “Londons Burning” screams Joe and the band end a very fine concert with a fast, intense blast of 77 vintage punk with Joe ranting and screaming over the ending.
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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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