Echoes of a lifeless arena (special guest editorial by The Baker, part 2)
Friday again, I’ll have some of that. Welcome back to the blog and the extra good news is that you don’t have to read me prattling on at length but instead I’ve got part two of our very special guest editorial from a key member of The Clash camp – The Baker.
If you somehow missed part one go back and read that immediately so that what follows make sense. I’d also encourage you to read the comments on the first post even if you have read it as The Baker was kind enough to answer some of the questions posed so far. He also wanted me to share that he’d welcome other questions relating to his editorial and hasn’t ruled out future articles or Q&A sessions although we’ll have to wait and see, please pose questions in the comments section – or email me. As you’ll appreciate if you are of similar vintage to myself or him, it takes a lot of work to recall all of the details of events from 30 years (and more) ago but if he can address specific moments and questions he might do so at a later date.
This is an exclusive one time article published here for the first time, please join me in thanking The Baker for writing for us, he stressed to me that it is the nature of the readers of the blog that encouraged him to write; so be on your best behaviour. Over to The Baker:
Echoes of a lifeless arena (part two):
Once the band strode out onto the stage, another jolt of adrenaline heightened the senses and awareness. The gigs themselves were a total blur of color, sweat, light, and sound; it was chaos most times, turned up white hot with noise to match. Time sped-up like a street-fight, and we reacted to each second instinctively. A string would break; a skin would split; a mike-stand would fall; there was no time to consider, you just leapt and responded. Coded nods were given; messages sent out – panic, exhilaration, brilliance and fuck-ups, for both band and crew. We lived right behind our eyes, performing as one and desperately trying to cover each other’s backs. Joe loved the fuck-ups and would purposely collide with equipment, knocking things over. The three of them would run back and forth throughout the show, purposely tangling the guitar leads as badly as possible and delighting in watching us scrambling to untangle the growing ball of spaghetti. Stage invasions, fights on and off stage, unconscious fans, bottles, cans, and gob all rained down on us. Looking back, it was uncontrolled mayhem on a dangerous scale.
The Baker with Topper (image the exclusive copyright of Pennie Smith)
And then after the last glorious encore, it was suddenly over. Pressure released, the adrenaline drained away, and reality seeped back into consciousness. You might suddenly realize you were drenched in sweat (or gob), or you’d been cut by flying broken glass. No time to rest though, only time to get a second wind, tear down, and put it all away. Every night, with ears ringing, we packed up the gear amidst the thrown beer cans, crunching through the smashed glass and debris of another battlefield. By the time the truck doors closed, the band left, and the last few fans drifted away, the hall would become quiet and empty. It’s hard to describe how utterly surreal it was to stride the empty stage, where just hours before such passion, emotion and frightening intensity had played out. The dreams and lifelong memories that had been created were now just ghostly echoes in a lifeless arena.
If we were in town for the night, there was time to re-live the highlights of the day with the band back at the hotel and much riotous behavior would inevitably take place. Mostly though, we climbed back on the crew bus and hit the road hard, fueled by Heinekens and high spirits (despite our tiredness), only to wake-up in a new town the next morning and do it all over again.
By the second tour, I had thankfully become numbed to the rigours and trauma that the lifestyle inflicted. Both band and crew became battle-hardened along the way and even today we all bear the physical and mental wounds of that improbable fiction – Paul’s hip, Topper’s back, and of course, Joe’s mortality – no one escaped without injury of some sort.
The music stopped long ago and after the intervening 30 years, just haphazard scenes and random images remain in my memory – the individual minutiae of each gig is now the property of not only the journalists and photographers who chronicled the events, but more importantly, of the fans who were there each night, who made such memories possible, and who remember it incident-by-incident. Every one of them also had a part to play in the journey.
Of course, there were another two thirds of the journey which were spent rehearsing, recording, and playing football – but that’s a story for another day….
The Baker
Back to me readers (sorry) and that simply leaves me wanting more, I’d be happy to hear more about those semi-famous football games that The Clash were so keen on and about four hundred other things. My sincere thanks goes to The Baker once more for writing, so please join me in that appreciation and by all means ask him whatever you’d like and we’ll see if he can help. I’ll even transcribe to save him time if he wants! Enjoy your weekend, I’ll be back soon. Tim
very cool!
thanks baker – a great read to wake up to !!!!!
Thanks Baker. Nice to hear an eyewitness account from someone in the front line of what sounds like hard(but also possibly fun)work at times. Road crews are definitely the unsung heroes. What would the acts do without them?
Thanks @ Tracey – the fun came from the danger. The band pulled off the impossible many times, and so did the crew! Haggling with customs officials who wouldn't let the gear through until the last second – bribes, hysterics, tactics – we threw in the kitchen sink to get the gear through. The band played through rain and lightning regardless(highly inadvisable). And the fans – no matter how high the stage or how many security guards, some still managed somehow to slither onstage against impossible odds. They were truly spectacular! I hope someone that made it onstage under such circumstances writes in….they are to be commended….
Thank you very much Baker for allowing this glimpse in to your perspective and recollections of your time with The Clash. Being closest to Topper in the run-up to the show each night, can you tell me what the dynamic of the band was like while Topper was around and how it changed when he was finally asked to leave? Always wondered if the band truly lost something when those events happened or if it was just a minor annoyance. Topper has always been a musical icon to me although I understand clearly the reasons and need for his departure. Thanks again Baker. Top class reading. Cheers!
"What would the acts do without them?…."
Well its a symbiotic relationship Tracey – you both rely on each other. Like an officer in the trenches with his batman – you go over the top with him, braving the bullets and grenades (or in our case, the beer cans and glasses). Then when its all over you say nothing of those times, keeping those most desperate of moments safe insidenand locking them away. That's how you show your true quality!
Sorry Baker, one more question…..in the end, do you feel you all accomplished what you set out to do 7 years prior, and what made it most worth it? Thanks again…..
Thanks so much for taking the time to recount those great times, I was fortunate to see The Clash twice both times in Chicago at The Aragon Ballroom……the first time was 1979 and that blew me away as a 13 year old boy. How did you get your name "The Baker"? Thanks again….good stuff. -Mark
@ Michael 6:51am – musically the difference was immediate Michael, onstage and off. No disrespect to Terry – he's a good, solid, all-around drummer and was fine for 1976. But as the band evolved they needed someone on the next level and Topper was as good as drummers got. Starting with recording Complete Control, Pressure Drop, City Of The Dead, Jail Guitar Doors – the depth of drumsmanship is self-evident. As the band progressed through Give Em Enough Rope and onto the Cost of Living EP, Topper gained more and more influence on the diverse styles of the tracks (Capital Radio 2 – disco, Groovy Times, Gates Of The West – Funk.)
It was a learning curve for me too, keeping up with him. I had to research timbales, bongo's, timpani's conga's….we were all learning every day.
Personality-wise, Topps brought a much-needed breath of comedic relief. The band were very serious about most things and there were times when it might have seemed a bit overwhelming. While empathising with the sentiments of the band, Topper preferred to let the others argue politics, and was a natural fun element balancing the mostly serious tone. He brought it back down to the human level and made us remember that we were supposed to be having some fun doing it.
I remember whenever the crew damaged something at a hotel there would be an inquest the next day – the tour manager would root out the culprits and threaten that the cost be taken out of wages. So we always relied on our 'Get Out Of Jail Free' card….."But Topper was with us," we'd say. And that was the end of it. Topps always said, "Yeah I was," even when he wasn't. If only they'd have been someone like him back at school!
As far as his departure, Joe said it all when he admitted, "We never played another good gig after Topper." What more can I say? By that time, the tours had become an economic excersize, and the tour manager was an accountant,so there became less room for hi-jinks or stage magic and more emphasis on 'getting through' the American sports stadium circuit. So Topper didn't miss that much (but we missed him….) – The Baker.
@ Michael 7:12am
I don't think anyone knew what to expect back at the beginning. Everyone arrived at Rehearsals, at that time, through their own connections and interlacing associates. It was so haphazard, we literally took things day-to-day and at any given moment it could have ended as quickly as it had begun. Just to get a recording contract was 'mission-accomplished'….everything else was icing on the cake.
The fact that they almost made it to the top, singing about injustice, truth, war, and brutality is a testament to how far they could have gone if they'd sold out and sung about love and happiness. They could have been multi-millionaires but chose not to. In the end, they aimed so high they inevitably missed by more than most and have been derided for having such high ideals.
So I guess the answer is it went so much further than anyone could have dreamt, but fell short considering how much further it could have gone. Like anything in life, when its over, you know it in your heart, and to keep churning out regurgitated offerings was never an option for The Clash.
The Baker.
PS. For me personally, I was a 17-year old kid back in '76 so I didn't know me arse from me elbow (probably still don't)….I had no expectations – no deposit, no return!
Thanks, Baker. We've been waiting a long time to read/hear about your time w/ The Clash. Reading your editorial is like reading a book, so I hope you write one. What do you think of the Rude Boy movie, or at least your role in it?
Thanks for doing this Baker ,would love to read more.
Do you think they might ever have got back together?
And do you have a favourite memory of Joe?
Well it was really nice to read something from another that worked for and with our old mates. I was the sound engineer for the Joe Ely band and we toured w/ The Clash twice. The Baker busted his arse most of the time. Brenda asked me to look and see if I had caught a picture of you, but I didn't get one of you. Have one w/ Malcolm and one w/ Johnny on stage but you seem to have eluded my lens, you sneaky little devil. I'm in the process of putting together a photo book of the 2 tours that the groups had together. It is mostly about the pictures but I have some stories thrown into the mix to let people know how hard and how much fun we had as well. I feel very privileged to be able to say that these people were my mates and that I was able to share time and work with them. We were very lucky to have been a part of the legend that was The Clash.
Thanks so much for dropping in Hatch. Please come back and let me know more about the book when it comes to publication, I'm sure people will love to see it.
@Mark Chicago.
It was just after the press-only set at Rehearsals that I gained the nickname of ‘The Baker’ from – who else – Paul! It was partly due to the fact that we used to dye all our clothes, so that black was made white and visa-versa. This process tended to give everything we wore a grayish utilitarian look (which ultimately became the Subway Sect look). I had recently dyed a black single-breasted jacket several times in an attempt to turn it white. This repeated dying had given it a stiff, uniform-like appearance and in retrospect, it may have looked like something a baker would wear, I don't know. Some guitar strings or sticks were needed one day, and as Sebastian wasn't around Paul just said out loud, "Hey, where's that bloke that looks like a baker? Ask him to go and get them," Everyone started laughing at the remark and the call went up, " Hey, Baker, Baker…." I came upstairs to find everyone laughing and duly went off to the West End for the needed supplies, confused as to what the joke was. It was an innocent enough remark, made in a casual manner, but it just seemed to stick, and I have used it ever since.
Good question Gil – personally I was disappointed they cut all my speaking parts out – so if you're out there Mingay FUCK YOU!! We filmed loads re-enactments, many of which never made it in. I remember one scene, in the bogs at Basing Street Studios – me and Ray standing there taking a piss, and he's rambling on about crap. I turned to him and taking off my 'Taxidriver' sunglasses confronted him about commitment, and what side he was on, and was he prepared to risk injury and abuse onstage. I backed him into the wall getting as heavy as little short-arse me could. Jack Hazan kept the film rolling – I thought it was good but, in the final cut to my dismay, it was gone.
On a higher level, Buzzy films made a valient effort to portray a vital, turbulent period in the social evolution in England as well as a band documentary, plus a portrayal of disaffected youth. Had it not had such high aims, Bernie would never have allowed participation. It failed several levels and looking at it now, it seems chaotic, unfocused, and, well, cheesy….. Maybe they didn't have the budget. Or maybe the backers weren't willing to throw their political lot in behind the anti-establishment theme of the film (there's always pressure from the corridors of power), and so they backed away from the more distasteful areas they could have explored -racism, police corruption, covert control of the people by the media, etc.
All-in-all its a strange melange of differing subjects and the strands never quite come together. But it stands as an accurate snapshot of England at a time where civil unrest and protest could have taken the country in a diferent ditection. It probably should be standard curriculum viewing in schools. What do you think, as a viewer, Gill?
Thank you for this,
Baker and Tim, I really appreciate reading this.
thanx Baker for sharing yr feelings & thoughts —-my question : Do you was in the famous Bologna/Italy concert ,june 1980 ?the one where Topper was late & Clash played first 6 songs with other drummer?? grazie e ciao!
thank you Barry and Tim. Great reading.
Thanks, Baker. It's a shame that your speaking parts, including the bog scene, were cut out. The scenes could've at least been released as extras on one of the DVD releases…perhaps on a 35th anniversary edition Blu-ray?! As an American, Rude Boy gave me a glimpse into England's civil unrest and the rise of Thatcher, but yes, it's unfocused and confusing (I'd think, "What's going on now?"), leaving me wondering what the plot is…the editing didn't help of course. Honestly, the best parts of the movie, and the only real reason to watch it again and again, are The Clash's live performances, even though they were supposedly all overdubbed.
Thanks for sharing your memories Baker; glad to here how important the camaraderie between the band, fans and road crew were to all involved. One of my favorite Clash memories was making a breakdown hobbled trip from Worcester, Mass. to Rennselear, New York to see the Clash at RPI; it might be the one of the 12 shows I saw that I remember least — outside of after the show, we went to the dressing room area and saw you and other road crew people and thanks to Rude Boy, Rolling Stone and various books and articles, knew your names and called out "Baker! Baker!" thrilled to see members of the hallowed Clash family in our midst. Soon enough, we were inside, asking Paul if Portobello Road's street market was open at Christmas time and telling Joe about our troubles getting to the show (the response was a quick thanks and "Why don't quiet down and have some food?" directing us to the huge food spread — and act that was repeated with younger Clash fans we knew a year or two later in Boston when Paul pulled them in through the back window and they came out a half hour later with drinks (and maybe sandwiches) in hand. From your standpoint — how was it being recognized by us fans? Thank again for sharing your memories and may good soulful times be with you always.
Great piece of writing Baker. On a personal level it was very descriptive and reminiscent of a Clash gig. Tim, Bakers editorial verifies the Clashblog as the only blog that matters. Thanks to you both.
Another question for The Baker: How fun was it shooting the "Bankrobber" video? Please share your memories.
thanx Baker for sharing yr feelings & thoughts —-my question : Do you was in the famous Bologna/Italy concert ,june 1980 ?the one where Topper was late & Clash played first 6 songs with other drummer?? grazie e ciao!
@ Rude Hi-fi Barriobeat -
Yeah, Bologna, Italy – the night I almost had a heart-attack!
First let me say Topper's lateness had nothing to do with drugs (as has been suggested). The idiot who was driving him simply lost his way (years before GPS or cellphones), so we had no idea where he was or what had happened to him.
I had soundchecked the drums so all was ready to go. We waited and waited until finally it became ridiculous. The crowd had gone beyond restless and the mood was beginning to turn ugly, not only out front, but in the dressing-room as well. Mick suddenly turned to me and said, "You'll have to go on Barry, and do a few numbers till Topper gets here!"
Now I'd jammed with them sometimes at soundcheck, if they turned up before Topper and needed a beat. They knew I could do a very basic 'Jail Guitar Doors,' and could probably keep the beat on some of the slower numbers – but live in front of thousands of fans? That was something totally different! I was not a drummer.
My heart skipped a beat and my stomach turned to water….I felt sick and wanted to throw up! "Me?" I exclaimed, "I don't think I can do it!"
"Yes you can!" everyone in the dressing-room said, "You've done it before – it'll be fine" I wasn't convinced by their bravado and for the next fifteen minutes I tried to prepare myself physically and mentally. How had I not seen this coming? I cursed myself and had a quiet mental breakdown.
Finally, just minutes before the final deadline, George Butler from Whirlwind (supporting) came into the dressing-room and offered his services. It was a choice between somone who knew the numbers in his sleep, but wasn't a drummer, or a drummer who didn't know any of the songs. After some discussion, they decided on George – I thanked my lucky stars! He went on and kept the beat for six or eight numbers until Topper finally appeared after 30 minutes. The band kicked into gear once he was on and the crowd responded in kind.
It was the only time anything like that happened and looking back, I realise I probably could have done it, but it was a moment I never wanted to re-live again….
The Baker.
@ Gil W
That was another crazy day at Lewisham Odeon. Don Letts turned up with his film crew to take some footage to splice into a video for 'Bankrobber'. Having no pre-concieved concept it was an on-the-spot idea to have me and Johnny dress with bandanas' over our faces and pretend to rob a bank.
I was already less than enthusiastic at the idea, as I already had a full day of work preparing for the show that night. But Don assured us it wouldn't take long and would be great and Johnny coerced me along. I couldn't see the point – we were the most unlikely-looking bankrobbers you could ever conjure up….Johnny's gangly stick insect figure looking ten-feet tall made me look even shorter and squat than normal. Later watching the finished video, I finally understood the comedic visual Don was trying to put forth and it worked quite well.
So he filmed us leaning up against the wall, running out of the bank, running down Lewisham High Street alarming shoppers, tearing across roads, jumping over the camera – it went on and on and all I could think about was what I should have been doing the whole time back at the gig. Suddenly two police Rovers came screeching round the corner, grabbed us and bundled us all up against the wall!
"This is all your fucking fault, Green!" I yelled at Johnny as the cops padded us down. "Now we're gonna end up down the nick and miss the gig, you cunt!"
After much convincing that it was all a stunt, the cops let us go with stern faces and we made it back to the Odeon just as the souncheck was ending. Fortunately, there were few problems equipment-wise and all's well that ended well. Ironically, the funniest part of the incident, was the part Don couldn't film – Johnny and I screaming at each other hands against the wall…."I'm gonna fucking kill you Green when this is over…." "Its your fucking fault Baker for looking like a thug!"
Later, back at the hotel, we divied up the fee Johnny had coaxed out of Don, so that was alright. I always wondered what the fans made of it….what did you think Gil?
The Baker.
Baker, I've always enjoyed watching the "Bankrobber" video. I like the combination of the serious (the band in the studio) and the funny (you and Johnny running around). It looked like it was fun to have been a part of that vid…thanks for the behind-the-scenes memories! The "16 Tons" Harrington jackets looked cool, too.
Baker, I was at the Glasgow Apollo show that's in Rude Boy – a phenomonal experience – but what was it like from your side of the stage?
Baker, Thanks for sharing your memories and answering questions so thoughtfully. I love what you wrote about the Clash aiming so high. Those "high ideals" shine through in your writing even now.
I was fortunate enough to see them play in London at the Lyceum in 1981. What a revelation THAT was! Terrifying audience and yet the most memorable show I've ever seen.
Thank you for your part in keeping them going all those years, Baker. Grace under pressure, indeed.
Thank you so much for sharing this!!!
@ Mark Hagan.
Glasgow Apollo was complete and utter chaos as you can imagine. Once the bouncers started drifting in for their shift that night, word came down that it was going to be bad. We passed it onto our own security but what could anyone do – they outnumered everyone and held sway in their own battleground.
From my position, I still had to maintain focus on my job – the band, the equipment, and the set. It was such a high stage that very little of the ultra-violence could be seen from the backline. As depicted in the movie, many of the fans were taken away from the eyes of the band, by the bouncers for a good kicking. I hope you were not one of those on the receiving end Mark, but if you were, I hope you at least got a few solid kicks and punches in yourself.
The band stopped the numbers many times during the show to try to cool it down, but the bouncers felt they had free reign, if it was to be the last show there. The audience at the Apollo stood their ground and went down valiantly as befits worthy Clash fans and we felt proud of your tribal spirit, Paul and Joe joining some of you in the cells that night. To distract the bouncers and get the band out of the gig, the promoter hired a stripper to go onstage and do some unseemly things with a bottle.
The following day we were off onto the next gig and so were unaware of the aftermath of that legendary show. Stephen Scott sent me some fascinating memories of stoned shop windows and the feeling of awe that surrounded the city the next day. If you have any other memories of that, or of other shows I would love to hear them. We've all read the journalists yak on about the record company and the politics….let's hear from the fans about they're experiences….
The Baker.
Hi Kay Zed, you'll have to refresh my memory about the 'terrifying audience' at the Lyceum in 1981. I wasn't aware there was any trouble there but the old memory does play tricks sometimes after all these years (unless you're referring to the fact that Tim@theclashblog was there and THAT would be quite terrifying!)
I can't remember any trouble at any of the London shows except the Rainbow, but that was directed at the seats. The ICA was just a bunch of students throwing glasses. Most of the violence was out in the provinces and of course, Europe. If I had to name the worst three gigs, in my opinion they would be (in descending order) :-
1. Markthalla, Hamburg. 1980
2. Sports Centre, Crawley, 1978
3. Queensway Hall, Dunstable. 1978.
That is unless anyone out there knows different…..
@ Randi – you're welcome.
Hello Baker,
Thanks for sharing your vivid, colorful tales with us and I look forward to more.. I've already read stories I've never heard from anyone else before. I have to ask what was it like going from the small venues of 1976 era London to moving up to stadium tours supporting the Who in 1982 era America? Was it just the same old routine or was it quite a bit more nerve racking and demanding setting up for much larger venues and audiences?
Hi again, Baker,
Tim@theclashblog was at the Lyceum in ’81 as well? Small world!
I shouldn’t have called the entire audience “terrifying”. Let’s just say the fans standing nearest me were intense and not all of them appreciated the newer songs from Sandinista. I remember Futura 2000 painting the backdrop and later doing his rap number. Some liked it, some really hated it. I loved every minute of the show and I’m so fortunate I got to see them at least once.
Sandinista is still my favorite Clash album. How do you rate it, Baker?
I was indeed…thanks to a big brother. Scared me half to death…but also fired me up to go to as many concerts as I could.
@ Zach – thanks for the sentiments there. Of course the difference in playing the small clubs in '76 and eventually the large stadiums of '82/83 was huge – gone was the chaos and spontaneity that made Clash gigs so unique. The opportunity to bond with the fans which was so important to the band, was also lost. But more than that, it called into question what they were doing and why. Their dilemma was unique; in order to evolve they had to discard most of the foundations they had built their house on. How could they sing about being a garageband when they were playing to 50,000 seaters. And yet the alternative was to chug along, tour after tour, playing the same smaller venues while music and culture passed them by. The audiences would get younger, while they would grow older and inevitably become an irrelevant cliche. No one wanted to see that Zack.
It was hotly debated but in the end there was only one way forward – evolve or die! To compete in the big league they had to use the enemie's tactics and so it was all or nothing.
As distasteful as it was to have to play those cavernous, souless stadiums, it was what the job had become. The dressing rooms were sometimes 1/4 mile from the stage and transportation back and forth frequently had to be used. Cordons of security had to be crossed so Digby and I found ourselves increasingly having to use walkie-talkies to communicate with the dressing room. Everything was run tight and by the numbers. Security and stadium personnel had a typed schedule of when everyone was arriving and leaving – nothing was done spontaneously. The unions who ran the shows gave no quarter and laid down the rules for everything. It was a sad state of affairs, especially after having experienced the do-it-yourself early days (I can remember after one of the Rainbow shows, Joe hitched a ride home in the back of my rented truck with about twenty fans and all the equipment….they just sat on the flightcases chatting.)
I guess you can't fight nature – we rebel against our parents, only to eventually become them. To prove a punk band from the squats of London could conquer the world, The Clash had to become the very thing they set out to destroy. In the end it just proved too high a price to pay.
The Baker.
@ BG Wormtown-
Thanks for those lovely memories of the gig in Troy….they are golden, and the fact you had transportation hurdles to overcome probably makes them all the more worthwhile. I'm sure a lot of people enjoyed reading them. I don't remember anything in particular about the actual gig but I do remember driving back and forth through New England and being awed by the incredible foliage.
I see there is a recording of the show available – do you have it? It would complete you're memories of that day I'm sure.
@ Kay Zed-
I think Tim said he was there (I could be wrong)….he was probably just a little toddler then and was taken there by his older brother.(ask him….)
I'm afraid I cannot give you any opinion on Sandinista. Very early on I made a point of never, NEVER commenting on their music in any way. That was not my job – there were plenty of other far more capable individuals who could advise them as to what they thought. If there was a technical issue I would of course be right in there, but throughout all the rehearsing, demo's, recording, and performances, I remained impassive and gave no encouragement or dissuagement. Besides, I didn't think it was professional or fair, and the last thing the band needed was to be critiqued by their own crew.
Throughout the years, many of those who were unable to detach themselves from their personal beliefs fell foul to their own passionate enthusiasm. The times changed and so did the band – you either changed with them or you fell by the wayside.
Thanks for the question anyway, Kay Zed.
The Baker.
[...] Early warnings for Joe Strummer 10th anniversary events Posted by Tim at The Clash Blog 25 October 2012 Under: Clash Memories, Clash News, Events, Joe Strummer 0Good evening fine people and welcome back to the blog, hope all is well at your end. I don’t want to overstate the enjoyable responses by The Baker to questions raised by his guest appearance on the blog a short while back, but if you haven’t kept an eye on each of his guest posts (under the comments section) I really encourage you to do so. Loads of interesting moments of Clash history are examined in depth from a man who was right there after all. Links to the post are here – part one and part two. [...]
Hmmm… from your list of worst gigs it looks as though I might be a curse, as I was at both Dunstable & Crawley…I suppose Dunstable would be a "secret gig" today.
I mainly remember the Glasgow show being an absolutley riveting one, with all emotions running very high & battle lines clearly drawn – Joe's "Get To Fuck" t-shirt, the bouncers physically launching themselves into the crowd from the ledge below the Apollo's high stage, somebody setting fire to some of the remaining stalls seats as we left & police cars scattering the crowds outside the Apollo by driving straight at them & not stopping.It was a miracle that nobody got hurt.
The Crawley show a few days later, was much more frightening on a personal level with gangs of skinheads roaming the hall hitting people at random – and Alan Vega as well of course!
I was insulated by the crowd at the Apollo as I was in a centre of row seat about 10 rows back but no such luck at Crawley. And after all the fuss at the gig, managed to avoid the skins on the way back to the station only to find it full of Teds…
I used to know Mr Green in Lancaster when he was a humble Arabic studios student, which was how I got backstage afterwards at Dunstable, where I remember everybody sitting around shellshocked. Joe going out to stop the Lou's getting bottled off stage, Mick screaming something about just being here to play music – last time they ever played 1977 I think as well.
The violence there seemed to be football based – there was certainly a lot of chanting from groups of rival fans – clearly some sort of local rivalry going on. Great pits of violence would just open up in front of you, & because there wasn't any seating it just flowed all over the hall.
I saw Johnny from across the road in Whitstable in the summer, but by the time I got across he'd melted away – looked well though!
@ Mark Hagan-.
Ahh, so YOU were the trouble-maker at those shows….ha!
Those are some incredible memories Mark, and highly evocative imagery. Thanks so much for sharing them. I'm sure there are others out there now reading this and thinking, "I do remember the bouncers leaping into the crowds…."
As I wrote in my guest editorial, these dramatic, frightening, and breathtaking incidents belong to you guys now. None of the band would remember any of these delicious details which are etched in your memory. And the journalists of the time were only concerned with the onstage antics – meanwhile there were mini-wars being fought out in the crowd and on the streets. 'The Untold Story,' in my mind – far more poignant and moving to me as were the individual stories of the loyal followers who travelled the length and breadth of England, braving the weather, hitching rides along the motorways, and sleeping on station benches. I always remember the fans that refused to leave the edge of the stage after the shows – pleading and begging for another encore in tears. We would try to placate them with badges, plectrums, and drumsticks – to which one young lad threw the badge back at me and screamed, "I don't want a badge! I WANT THE CLASH!!"
Those words stayed with me all these years as a reminder that those times DID matter, and not merely as an old record in someone's collection (any other fans would have been more than happy with a plectrum.) Not Clash fans – their ardor more excessive, their passion more intense. To brave the bouncers, skinheads and teds they had to have fire in their hearts, I think.
The Baker
PS. Amazing, that you knew a young Mr. Green (or Mr. Broad), back in Lancaster Mark, (not so sure about the humble part….) Was he a hippy back then? Paul gave him the nickname 'Gandalf' Green, after an old photo we once saw…..guaranteed to send him through the roof!!!
No, he'd had his haircut by the time I met him! We usd to buy the same records in the same shop which is how we got to know each other. As it happens, the last time I saw the Clash was at Lancaster on the 16 Tons tour…
@ Mark Hagan
Ahh – Val Doonican fans eh? (see http://www.valdoonican.com)
Johnny is currently touring with John Cooper Clarke….he reads parts from his book out on stage and invites audience questions – go along and see him if you get the chance (Mark + 1 guestlist)….wind him up a bit!!!
The Baker