On Parole and Staying Free
By Barry Myers
The Clash
Music Machine
The setting was the Muslc Machine for the four-day event heralding The Clash's return to London, winding up their "On Parole" tour; There
was relatively little trouble. Although I, witnessed the odd mindless swipe at over-enthusiastic punters, compared to the heavies up Seven
Sisters Road the security was restrained.
Monday night, and into their third number were The Specials. This Coventry outfit really are one of the freshest young bands I've seen in ages.
Predominantly reggae/ska derived, their music is fast and furious, occasionally breaking into punk and R&B, blending the styles, even switching
mid-song. A strong Sixties element, plus the ska numbers "Birth Cantrol" and a tremendous set closer of "Liquidator". The band's Iyrics
combine awareness with a sense of humour. "All you punks and all you teds, 'Do The Dog'," and the pop song for all the girls called Barbara,
"Lorraine". Monday through Thursday, they became tighter and hotter, earning themselves encores, and won many friends.
(Suicide, the other support band, are to be reviewed in full elswhere.)
And so to The Clash. On Monday the critical eye and the need to make notes overpowered the enjoyment. But The Clash were not at their
best. Joe was a bit under the weather and Paul's playing lacked fluidity, leaving Mick the Topper to hold it togther. It wasn't a bad shaw but,
by Clash standards, there was room for improvement.
Tuesday night and from the guitar harmony intro of "Complete Control" it was obvious that the proceedings were under control, making a fiery
start to the set. And on Thursday, when the bass amp packed up during thc first runthrough, they regained their rhythm by repeating it. Snare
drum attack leads into "Tommy Gun" which, like most, features ace lead work from Mick. He really has blossomed into one of the best
contemporary guitarists. "Cheapskates" is next. Then Mick takes the Mike for "Jail Guitar Doors", which sometimes sees him dash across the
stage. In fact the whole front line interweaves wonderfully.
Into "Drug Stabbing Time" and it's bubbling along, Topper's drumming is as precise and powerful as always and Paul is as cool as ever. "Clash
City Rockers" and "White Man" are great vehicles for Joe, the actor, the eccentric. He goes down on his knees, flat on his back, writhes
about, and penetrates all with his relentless stare.
Unfortuneatly string replacement and re-tuning hampers "Capital Radio" and Mick's "Stay Free", but by "Police and Thieves" which segues into
"Blitzkrieg Bop" they are cookin' again. An important part of the set, it marks the start of the run-in, and was where the Thursday performance
also picked up. No letting up through "English Civil War","Safe European Home", 'What's My Name", "London's Burning", "Garageland".
Encores are "Bored with The USA", "Janie Jones", and "White Riot", and the band are joined by Steve Jones who must've enjoyed it so much
he came back for the next two. Paul Cook drummed along on a second kit on Thursday whilst Jimmy Pursey added to the fun on "White Riot"
far the last two nights.
Even on the weaker nights of the first and last, the Clash gave out everything they could. No band play with such drive and conviction. On
Wednesday they hit their peak. It was a privelege to spend four nights with the greatest band in Britain, nay, at this moment in time, the greatest
band in thr world (Choke! - Ed) The Clash.