The Clash The Lyceum Ballroom London 26 October 1981

Last night at the Lyceum. Last (and best quality) of Derek Harris’ recordings. Last appearance of Topper Headon on a British stage. Excellent performances. Essential.

As Derek only recorded the encores this night it’s another case of the glass half full or half empty - but what a half! The sound quality is excellent for an audience recording (Derek perfecting the best position to record from and managed to find a decent chrome blank tape to boot!) and the band produce exceptional performances on most of the songs - ending their association with the Lyceum Theatre on a memorable high.

Whilst only capturing the last 50 minutes of the concert, Derek’s recording is (further) documentary evidence that The Clash at the end of 1981 remained very much a phenomenal live experience. Indeed thanks to Derek agreeing to bring his recordings into circulation in 2007, it is now possible to hear and judge performances from every night of the Lyceum residency. The conclusion surely for anyone with ears to hear is that The Clash in late 81 showed no signs of decline in live performance. Indeed The Clash were still moving forward musically, producing night after night performances of a consistently high quality and on those special nights (and there were several at the Lyceum) performances of sheer exhilaration and finesse to rank up there with the very best Clash shows (and therefore of any band on any stage at any time).

Derek’s master audience tape is the only recording in circulation. It is incomplete though only capturing the encores. It is however his best recording; an excellent audience recording, capturing all the instrumentation including a decent bass sound and a strong lead guitar mix (which had been missing from his earlier recordings). The sound unusually for an audience one is not distant, vocals are upfront and clear and Topper’s drums and Joe’s guitar are again very clear.
Crank up the volume and enjoy!

Derek’s tape rolled just after the band had begun Police and Thieves (presumably the first song of the first encore) Mick’s solo is refreshingly clear and up in the mix on this recording but although a fine performance it is probably the least interesting on the tape. There is no inspiration from Joe mid song, he mumbles and moans to himself but his muse is temporarily absent.

Certainly memorable is an excellent sounding and very strong performance of the rarely played Street Parade featuring some great guitar interplay from Mick and Joe and an impressive instrumental improvisation. A shorter arrangement than the first repeated final chorus versions back in May.

“Alright then eh, Michael” and after a pause Mick says “This is for all my friends” and the band kick into an excellent Stay Free with some great lead guitar; Mick’s interest in playing guitar had been minimal at some nights at the Lyceum but on this recording his playing is inspired and thrilling (even taking Joe aback on the later Brand New Cadillac).

After a dodgy start, which allows for an instrumental first verse, Washington Bullets is another highlight . The playing is inspired and tight as hell. Mick improvises a lead break and Mick & Joe share committed vocals.

Changing the encores around on this last night Joe shouts “Which round for me, which round?!” and the band slam into an excellent Wrong Em Boyo. With barely a pause a slashed chord from Joe provides the instruction and the band crash into a pumped up Safe European Home, no exceptional extended ending or rant but still very enjoyable.

The band leave the stage and the recording captures the atmosphere in the Lyceum as the audience cheer, chant, stamp and clap for more. They are soon rewarded with Joe alone singing “Lay around don’t stay around..” and then Topper and Paul comes in. Mick adds his now customary ear drum bursting scream on a very fine (and excellent sounding) Armagideon Time. Mick picks out strong guitar lines behind Joe’s fine vocals and Topper’s excellent drumming ties it all together. Joe cries/hollers and over the ending repeats “rats, rats, twice as big as cats”.

“Like to introduce to you now, if you don’t mind, to Futura 2000 who’s all the way from Alphabet City” The last time Futura would rap his Graffiti Rap with the Clash, and one of the best sounding recordings to check it out. The band are having fun with Mick adding his effects and the band improvise over the ending.

The opening chords of Should I Stay then ring out around the Lyceum; and its another fresh sounding, tight and energetic performance again featuring some great lead guitar from Mick. Next its into the highlight of the night an exceptional Brand New Cadillac where Mick’s inspired playing seems to take Joe aback not singing on the first thrilling run through, letting the music do the talking as the band rip it up. Mick’s playing here is a delight the band unusually playing fast and loose with the arrangement and Joe adlibs a jokey “25p you’re a miser, baby baby won’t you give me more than 5p! I’ll take 10p!…” Remarkable!

Topper’s drum intro heralds a teased out intro to Janie Jones, the band pumped up and on a roll. Derek turned over his tape quickly enough to catch Topper’s drum roll and then Mick’s paint blistering intro to a remarkable Complete Control. A terrific finale with Mick’s playing a delight, the band on fire and extending the song, not seeming to want to end the show! Joe shouts “This is joe public speaking, controlled in the body, controlled in the mind” but not so surely for the audience in the Lyceum at this point and no doubt for some considerable time thereafter!

Sadly there’s no third encore, the PA soon plays “Come on baby let the good times roll” but a terrific and fitting finale to the Lyceum residency and Topper’s last British show. Essential.

First saw The Clash at the Lyceum, London around this time (1981), being only 14 at the time, it was one of the first gigs I'd ever been to but remains one of the best. Still remember the sheer power of Safe European Home (hairs are standing up back of my neck as I type this), Tommy Gun and London Calling.

Also then saw them several times in Brixton through Sandinista and Combat Rock - Straight to Hell what a song!!! Most bizarrely was The Clash busking on the steps of Leeds University Union (1984?) when they were following The Alarm around (crap band -who incidently I first saw supporting The Farmers Boys and they never should have got any higher up the bill!).

Incidently The Clash also had more than one drummer which is enough of a link to the GB's to legitimise this bit of reminiscing, besides which beats working!