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The Clash At Bonds International Casino
The Clash played a series of 17 concerts at Bonds International Casino in New York City in May and June 1981 in support of their album ''Sandinista!''. Due to their wide publicity, the concerts became an important moment in the history of the band. Some of the nights were professionally recorded either for CBS records or for FM broadcast. The 9 June performance appears on countless bootleg records and several songs have appeared on ''From Here to Eternity: Live'' or other official Clash releases. The site of the concerts was formerly Bonds department store which had been converted into a large second-floor hall. Promoters kept the name because there was a large Bonds sign on the outside of the building. As The Clash had not yet broken out into mass popularity, eight shows were originally scheduled: 28, 29, 30, 31 May and 1, 2, 3 and 5 June 1981. However, given the venue's legal capacity limit of 1750, the series was blatantly oversold (3500) right from the first night, leading t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Clash At The Bonds
''The'' () is a grammatical Article (grammar), article in English language, English, denoting persons or things that are already or about to be mentioned, under discussion, implied or otherwise presumed familiar to listeners, readers, or speakers. It is the definite article in English. ''The'' is the Most common words in English, most frequently used word in the English language; studies and analyses of texts have found it to account for seven percent of all printed English-language words. It is derived from gendered articles in Old English which combined in Middle English and now has a single form used with nouns of any gender. The word can be used with both singular and plural nouns, and with a noun that starts with any letter. This is different from many other languages, which have different forms of the definite article for different genders or numbers. Pronunciation In most dialects, "the" is pronounced as (with the voiced dental fricative followed by a schwa) when fol ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
London Calling (song)
"London Calling" is a song by the British punk rock band the Clash. It was released as a single from the band's 1979 double album of the same name. This apocalyptic, politically charged rant features the band's post-punk sound, electric guitar and vocals.Gilbert 2005, pp. 233, 235, 238, 257, 260, 267.a) "Taken from the Clash's stunning 1979 double album ''London Calling'', the single showcased the band's trademark fusion of reggae bass lines with punk guitar and vocals."b) "Reaching number eleven in December 1979, the song was the only track to be released as a single from their acclaimed London Calling album." Writing and recording The song was written by Joe Strummer and Mick Jones. The title alludes to the BBC World Service's station identification: "This is London calling ...", which was used during World War II, often in broadcasts to occupied countries. The lyrics reflect the concern felt by Strummer about world events with the reference to "a nuclear error" – ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Washington Bullets (song)
"Washington Bullets" is a song from The Clash's 1980 album '' Sandinista!''. A politically charged song, it is a simplified version of imperialist history from the 1959 Cuban Revolution to the Nicaraguan Sandinistas of the 1980s, with mention of the Bay of Pigs Invasion, the Dalai Lama, Salvador Allende and Víctor Jara, referencing his death at the hands of the Chilean military dictatorship in the stadium that now bears his name. Although mainly a criticism of the foreign policy of the United States, the song's final stanza also delivers a criticism of Communist states by making reference to the treatment of pacifist Buddhist monks in the People's Republic of China during the Cultural Revolution and the Soviet Union's Invasion of Afghanistan. The song's title is often thought to have been a pun on the name of Washington DC's basketball team, the Washington Bullets (now called the Washington Wizards), but frontman Joe Strummer denied any knowledge of the basketball team prio ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Janie Jones (song)
"Janie Jones" is a song by the English punk rock band the Clash. It is the opening track on their debut album, ''The Clash'' (1977). The song is named after Janie Jones, a cabaret singer who organised sex parties at her Kensington home. A live performance of "Janie Jones" is featured in the 1980 film ''Rude Boy'', and the song has been on the soundtracks of other films as well. The song is the first stated to be on Rob Gordon's list of top five Track Ones Side Ones in the film '' High Fidelity''. Composition The song is named after Janie Jones, a minor English cabaret and pop singer in the 1960s who was convicted in 1974 of "controlling prostitutes" at sex parties she held at her home in Kensington. She was released from prison in 1977, and an allegedly smitten Joe Strummer composed the song in her honour. Releases In addition to ''The Clash'', the song has appeared on the compilation albums ''The Story of the Clash, Volume 1'' (1988) (disc two), ''Clash on Broadway'' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Brand New Cadillac
"Brand New Cadillac" (also recorded as "Cadillac") is a 1959 song by Vince Taylor, and was originally released as a B-side. Featured musicians on the released recording were: Joe Moretti (guitars), Lou Brian (piano), Brian Locking (bass) and Brian Bennett (drums). While not successful in the UK, it got a huge surge in popularity in continental Europe, especially the Nordic countries, with acts such as The Renegades and Hep Stars bringing it to number one in Finland and Sweden respectively. Another Swedish act, the Shamrocks brought the song to number one in France. Vince Taylor's record company eventually learned of these recordings and copyright claims ensued. The case was settled on agreement to add Taylor's name to songwriting credits alongside The Renegades members—sharing the royalties equally. Neither Hep Stars nor Shamrocks were aware of Taylor's original version at the time of recordings. Therefore, it is possible to find their 1960s recordings credited either to (Kim) ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Clampdown
"Clampdown" is a song by the English rock band the Clash from their 1979 album ''London Calling''. The song began as an instrumental track called "Working and Waiting". It is sometimes called "Working for the Clampdown" which is the main lyric of the song, and also the title provided on the album's lyric sheet. Its lyrics concern those who have forsaken the idealism of youth and urges young people to fight the status quo. The word 'clampdown' is a neat cover-all term the writers adopted to define the oppressive Establishment, notably its more reactionary voices who were to be heard throughout the 1970s calling alarmingly for "clampdowns" by government and law enforcement on strikers, agitators, benefits claimants, football hooligans, punks and other perceived threats to the social, economic and moral wellbeing of the UK. In 1980 "Clampdown" was released as a single backed with "The Guns of Brixton" in Australia. The single was not released in any other territories, with the e ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Police And Thieves
"Police and Thieves" ( "Police and Thief") is a reggae song first recorded by the falsetto singer Junior Murvin in 1976. It was covered by the punk band The Clash and included on their self-titled debut album released in 1977. Junior Murvin version The song was originally written by Junior Murvin.Katz, David (2006) ''People Funny Boy: The Genius of Lee "Scratch" Perry'', Omnibus Press, , p. 246-9, 272, 493 Murvin approached Lee "Scratch" Perry in May 1976 and auditioned the song at Perry's Black Ark studio; Perry decided to record the song the same afternoon, and decided to alter the lyric slightly. Players on the track included Boris Gardiner (bass), Ernest Ranglin (guitar), Sly Dunbar (drums), Keith Sterling (keyboards), and Joe Cooper (organ), with backing vocals provided by Barry Llewellyn and Earl Morgan of The Heptones. The next day dub versions were mixed and versions with different lyrics recorded. The song, about gang war and police brutality, was out on the stree ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Magnificent Seven (song)
"The Magnificent Seven" is a song by the English punk rock band the Clash. Released in 1981, it was the third single from the Clash's fourth album, ''Sandinista!''. It reached number 34 on the UK Singles Chart. Composition The song was inspired by old school hip hop acts from New York City, like the Sugarhill Gang and Grandmaster Flash & the Furious Five. Rap was still a new and emerging music genre at the time, and the band, especially Mick Jones, was very impressed with it, so much so that Jones took to carrying a boombox around and got the nickname "Whack Attack". "The Magnificent Seven" was recorded in April 1980 at Electric Lady Studios in New York City, built around a funky bass loop played by Norman Watt-Roy of the Blockheads. Joe Strummer wrote the words on the spot, a technique that was also used to create ''Sandinista!s other rap track, "Lightning Strikes (Not Once But Twice)". This white rap single is earlier than Blondie's "Rapture" by six months. Strummer said o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Complete Control
"Complete Control" is a song by The Clash, released as a 7" single and featured on the U.S. release of their debut album. Background The song is often cited as one of punk's greatest singles and is a fiery polemic on record companies, managers and the state of punk music itself, the motivation for the song being the band's label (CBS Records) releasing "Remote Control" without asking them, which infuriated the group. ''Stereogum'' described it as "this extraordinary airing of grievances, a desperately catchy cataloguing of the many ills visited upon a young band experiencing its first forays into corporate culture". The song also refers to managers of the time who sought to control their groups–Bernie Rhodes (of The Clash) and Malcolm McLaren (the Sex Pistols)–the song's title is derived from this theme. Bernie Rhodes had arranged a band meeting at the Ship, a pub in Soho's Wardour Street, where he said he wanted "complete control". The track also refers to the band's r ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bankrobber
"Bankrobber" is a song by English punk rock band The Clash. The song was not released on any of their studio albums, instead appearing on their compilation ''Black Market Clash''. Upon its 1980 release as a single (initially available in the UK on import only) it peaked at number 12 on the UK Singles Chart, and at number 14 on both the Irish Singles Chart and the New Zealand Singles Chart. Young Ian Brown and Pete Garner, later of The Stone Roses, were in attendance at the studio recording session of this single. According to Brown, having heard a rumour that the Clash were recording in Manchester, he and Garner were walking through the city centre when they overheard Topper Headon playing the drums at the city's Pluto Studios: Headon subsequently emerged from the studio and invited the pair in. The full account of this incident is in John Robb's ''Stone Roses and the Resurrection of British Pop''. The Clash filmed a low-budget video for the song, depicting members of the band ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Call Up
"The Call Up" is a song by English punk rock group the Clash. It was released as the first single from the band's fourth album, ''Sandinista!''. The single was released in November 1980, in advance of the release of ''Sandinista!'', with "Stop the World" as its B-side. Re-releases The single was reissued in 1981 in the U.S. by Epic Records (catalog number 02036) in 7" vinyl format and with a different cover. On the B-side of the US release was "The Cool Out", a dub of "The Call Up". In addition to its inclusion on ''Sandinista!'', "The Call Up" has been included on both '' The Clash on Broadway'' and '' The Singles''. It is absent from ''The Essential Clash'', although "Stop The World", its B-side that was not included on ''Sandinista'', is included. "Stop The World" is also included on ''The Clash on Broadway'' and the B-side compilation ''Super Black Market Clash''. The single was reissued on CD as Disc 12 of Singles Box, complete with a re-creation of the original sleeve ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Guns Of Brixton
"The Guns of Brixton" is a song by the English punk rock band the Clash. It was written and sung by bassist Paul Simonon, who grew up in Brixton, South London. The song has a strong reggae influence, reflecting the culture of the area and the reggae gangster film ''The Harder They Come''. Origins and recording "The Guns of Brixton" was the Clash's first song to be composed and sung by Paul Simonon.Sweeting, Adam. (October 2004). "Death or Glory". ''Uncut''. p. 67. By the time of ''London Calling'', Simonon had learned to play guitar and started contributing more to the songwriting.Rowley, Scott. (October 1999), ''Interview with Paul Simonon''. Bassist Magazine. :"You don't get paid for designing posters or doing the clothes", he said in an interview published by Bassist Magazine in October 1990, "you get paid for doing the songs." The band, separated from manager Bernard Rhodes,Gilbert 2005, pp. 212-213. had to leave their rehearsal studio in Camden Town and find another loca ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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