updated 4 Aug 2014 - Full audio review
cdr - OK - average - Sound 3 - 81min - Unknown gen? - tracks 22
Audio - Radio Derby interview at Assembley Rooms
Mick Jones & Kosmo Vinyl of The Clash, interviewed back stage at Derby Assembly Rooms by Haddon Smith for Radio Derby youth programme Barbed Wireless, hosted by Terry Christian. Summer 1982.
After the two nights in Newcastle the tour continued to Bradford’s St George’s Hall, on the 17th where The Clash’s “walk up” was evident. Tickets were readily available at the box office on the night, the venue like many on the tour was not sold out, and the touts disappointed! However by the time The Clash hit the stage that night the front of stage in the unseated stalls was packed and enthusiastic but there was room at the back for more. The Clash’s UK fans were still turning out in sufficient numbers to make the tour a success but the contrast for the band between this tour and the buzz of the sold out US tours must have been stark. The Clash played and went down well (with the exception of Joe’s dodgy Davey Crockett hat!) but it was a routine show contrasting with the exceptional shows earlier (and later) at Brixton that this writer also saw.
The next night the band played Birmingham’s Bingley Hall (see link to Phil William’s excellent live photos) and then rolled into Derby’s Assembly Rooms on the 19th. The Alternative Derby website posted a live recording credited to the previous 9th June 1980 Clash gig at the Assembly Rooms but unfortunately it is the same recording in circulation of the 1982 gig.
As the recording is an analogue copy probably more of the master and the performances are OK if unexceptional, this is not an essential Clash bootleg. What makes it exceptional ironically is what is missing and the unusual encores. The Clash play 22 songs but are on stage for less than an hour and a quarter and omits the staples of Armagideon Time, Bankrobber and Straight To Hell. The main set does not end with Clampdown but they start the first encore with it and the second encore begins with Train in Vain! Was a band member ill or was there something good on TV that night! By Leicester the next night things were back to normal, anyone know why the Derby faithful were short changed?
The still existing Assembly Rooms was opened in 1977 and for music gigs accommodates 1400 with no seating on the ground floor, with a further 600 seated upstairs.
The only recording in circulation is from an audience source which is complete but unfortunately an analogue copy probably more off the master. One channel is better than the other; evidence of dirty or worn heads and the sound is flat with almost no top end. Bass is quite good, drums lifeless, vocals OK and there is some distortion but from the copying not the source recording. An upgrade to the master would reveal a very decent audience recording. As it is though it’s an OK listenable sound but there are much better recordings and performances from this tour.
As the Morricone intro fades Joe says “Good evening and welcome to you. Can you hear ne, are you sure? OK this is Mick Jones” After London Calling the band rattle through Janie Jones and Know Your Rights and in fact through most of the gig with hardly a pause or introduction from Joe. White Man in Hammersmith Palais is again strong with an extended instrumental ending but no Strummer adlibs. Joe and Mick’s vocal interplay on Magnificent Seven is notable but there’s no adlibs or musical variation to make it particularly memorable. “Mick’s going to sing Stay Free” is one of Joe’s few intros. Although the performances don’t lack effort the band seem to be largely going through the motions, there’s no edge, the grind of all the touring since May catching up with them.
There’s an edit at start of The Call Up which ends again with a repeated “Hup 2-3-4 “ which the audience repeat and continue after the band have stopped. Brand New Cadillac stands out as fast and tight and the set concludes not with Clampdown but with I Fought The Law.
The recording continues through to the short encores then Mick plays a rotor blades riff and counts in Clampdown, which strangely starts the encores tonight, but there’s no inspiration or adlibs an unexceptional performance. It’s then straight into a swift Should I Stay and Safe European Home and then the band leave the stage again. The recording again continues through to the even shorter second encore of curiously Train in Vain before the usual final song of Garageland. Not long after the band exit the stage to cries for more the PA music comes on and the houselights went up.
Anyone know the story behind this very atypical Clash show?
Any further info / reviews