The UD version above and XL 1523/4 shown below (this is probably more of a red than an orange, similar to the XL version). I believe it’s fair to say that this makes a strong case for both labels being run by the same people. This was the 8th title released by XL and already the 2nd Ozzy one.
XL 1531/2 – the blue reissue:
The blue version with mysterious number on the back – although some copies have it on the front cover:
Japan: 1982 -Randy Rhodes died 19 March 1982 and I believe that these bootlegs were released after that date. Ozzy first toured Japan in July of 1982 during the Diary Of A Madman tour, further explaining the sudden surge in Japanese bootleg product (look for the upcoming ‘Ozzy-heavy’ XL label discography).
Source: Audience recording from Long Beach Arena on 27 June 1981. Ozzy on the second U.S. leg of his very successful first tour as a solo artist, following the release of his first (and future) platinum album Blizzard Of Ozz. Motörhead opened.
6581A: “O Fortuna” (Carl Orff) / I Don’t Know / Crazy Train / Believer 6581B: Mr Crowley / Flying High Again / Revelation (Mother Earth) 6582A: Steal Away (The Night) / Tommy Adridge drum solo / Suicide Solution / Randy Rhoads solo 6582B: Iron Man / Children Of The Grave / Paranoid
***
Fan rating: “I have heard all the shows with Randy Rhoads that were recorded. This is in my top 5.”
Milwaukee, Jan 22, 1982 London, Ontario July 24, 1981 Long Beach, June 27, 1981 Chelmsford, Oct 22, 1980 Providence, RI, Aug 7, 1981
Genesis first played in Japan at the end of their …and then there were three… tour in November/December of 1978. With prog-rock falling somewhat out of favor there as the 70’s turned into the 80’s, the band only returned one more time after Invisible Touch had catapulted them to massive mainstream stardom in March of 1987.
Source: Audience recording from Wembley Arena, London, 19 December 1981. Genesis started their abacab Tour at the Plaza de Toros Monumental in Barcelona on September 25th and ended it with seven UK shows late December, spread between Wembley Arena and the National Exhibition Center in Birmingham. I have to admit it took me the longest time to realize that ‘Kebab’ is supposed to be a word play on the official album title.
6578A: Behind the Lines / Duches / The Lamb Lies Down On Broadway 6578B: Do Do / Abacab / The Carpet Crawlers 6579A: Me And Sarah Jane / Misunderstanding / No Reply At All / Cindy Louise (unreleased) 6579B: Deep In The Motherlode / Man On The Corner / Who Dunnit 6580A: In The Cage / Keep On Turning (unreleased) / Aftergrow / Turn It On Again 6580B: Dance On A Volcano / Los Endos
translating into:
01 Behind The Lines 05:14 02 Duchess 06:04 03 The Lamb Lies Down On Broadway 05:08 04 Dodo / Lurker 08:17 05 Abacab 08:38 06 The Carpet Crawlers 06:18 07 Me And Sarah Jane 06:53 08 Misunderstanding 05:14 09 No Reply At All 04:49 10 Phil Talking 04:37 11 Firth Of Fifth 09:38 12 Man On The Corner 06:25 13 Who Dunnit? 03:17 14 In The Cage / The Cinema Show / The Colony Of Slippermen 12:15 15 Afterglow 04:11 16 Turn It On Again 05:00 17 Dance On A Volcano 04:34 18 Drum Duet / Los Endos 08:10 Total Running Time: 1:54:42; quality rated as B+
The two tracks marked as ‘unreleased’ on sides 3 and 5 are a bit puzzling and I have found no trace of these being actual studio recordings.
The name points to the fact that three ex-members of Deep Purple were part of the band’s line up in 1981: David Coverdale, Jon Lord and Ian Paice.
The back cover states that this audience recording comes from the Hammersmith Odeon in London on 09 June 1981. While the band performed there on that day, the recording comes from their Japan tour in the second half of June, most probably from Tokyo’s Nakano Sun Plaza Hall. A collector would just have to compare the UD album with the source tapes (which exist for every night of the tour).
6575A: Walking In The Shadow Of The Blues / Sweet Talker / Ready An’ Willing / Don’t Break My Heart Again 6575B: Till The Day I Die / Love Hunter / Mickey Moody’s Slide Guitar Solo / Love Hunter 6576A: Mistreated / Soldier Of Fortune / Woman From Tokyo 6576B: Tomorrow Never Knows / Shuffle / Lazy / Ian Paice’s Drum Solo / Shuffle / Ain’t No Love In The Heart Of The City 6577A: Would I Lie To You / Fool For Your Loving / Come On 6578A: Thank You Blues / One Woman Song / We Wish You Well
Q on an on online forum “So tell me,what is your favourite Snake boot? I need direction” A: ““The Deep Purple Old Boys Club” Tokyo on the come and get it tour, bloody brilliant.“
Set list comparison:
Hammersmith Odeon, London, England, June 9th, 1981
01 Walking In The Shadow Of The Blues 05:13
02 Sweet Talker 04:27
03 Ready An’ Willing 05:24
04 Don’t Break My Heart Again 05:51
05 Till The Day I Die 05:48
06 Love Hunter (incl. Micky Moody solo) 10:55
07 Mistreated (incl. Soldier Of Fortune) 14:26
08 Jon Lord solo 05:41
09 Belgian Tom’s Hat Trick (incl. Ian Paice solo) 13:14
10 Ain’t No Love In The Heart Of The City 08:20
11 Would I Lie To You 06:26
12 Fool For Your Loving 04:04
13 Come On 03:13
14 Thank You Blues 00:57
15 Wine, Women An’ Song 11:29
16 We Wish You Well 01:26
1981-06-26 Tokyo, Japan
01 Opening
02 Walking In The Shadow Of The Blues
03 Sweet Talker
04 Ready An’ Willing
05 Don’t Break My Heart Again
06 Till The Day I Die
07 Lovehunter
08 Micky Moody Guitar Solo / Lovehunter
09 Mistreated
10 Soldier Of Fortune
11 Jon Lord Keyboard Solo
12 Belgium Tom’s Hat Trick
13 Ian Paice Drum Solo / Belgium Tom’s Hat Trick
14 Ain’t No Love In The Heart Of The City
15 Would I Lie To You
16 Fool For Your Loving
17 Come On
18 Thank You Blues
19 Wine, Women An’ Song
20 We Wish You Well
Japan: 1982 – the band toured Japan in January/February 1982, so this set may have been released around that time.
Source for discs 1&2: Audience recording (incomplete) from the London, Lyceum – 19 October 1981
6572A: Know Your Rights / Guns Of Brixton / Train In Vain / White Man 6572B: The Magnificent Seven / Clash City Rockers / Koka Kola / Ivan Meets GI Joe / Junco Partner 6573A: The Leader / I Fought The Law / Ghetto Defendant / Graffiti Rap 6573B: Somebody Got Murdered / London Calling / Clampdown / Radio Clash
This is the corrected set list. The changed song titles based on what was deciphered make it clear that UD were not big Clash fans.
Confirmed missing following ‘Radio Clash’ are ‘Bankrobber’, ‘Complete Control’, ‘Lightning Strikes’, ‘Charlie Don’t Surf’ and ‘Spanish Bombs’; perhaps more.
B+/B quality with an ‘Exs’ rating in HOTWAX.
Following the release of their Sandinista triple album and sandwiched between two European tours, the Clash decided to play three residencies spread among New York, Paris and London.
“My favourite moment in Clash history. Second night of the Magnificent Seven at the Lyceum, Oct 19th 1981. My first Clash gig. Very defining. I heard from fans who’d been there the night before who raved about the gig: a two hour forty minute concert with a forty minute encore. I met the band as they turned up in the alley I was hanging around waiting for the doors to open. The show did not disappoint with Joe et al performing a show that went…two hours and forty minutes! Futura 2000 painted the backdrop during the concert and then when he took the mic, Joe had to stop the gig because the punks were gobbing on the rapper. I sang the entire concert, almost blew my eardrums by standing up front by the speaker bank, and took the week off work with laryngitis! I clung to the £1 poster for the duration of their set and it’s now been around the world with me. I also have the ticket stub and somewhere there’s a badge from the concert. The Meteors were the support act. Best concert ever. Nothing has come close for me in thirty-two years.” – Simon
***
Source: Incomplete audience recording from Bond International Casino, New York – 10 June, 1981 – the 12th show (out of 17) of their NY residency.
6574A: The Call Up / Bankrobber / Complete Control / Lightning Strikes / Charlie Don’t Surf / Spanish Bomb 6574B: Midnight / I Don’t Like / One More Time / Brand New Cadillac / Janie Jones / Amagideon Time / London’s Burning / White Riot
HOTWACKS rating “Vgm”
Original set list:
01 London Calling 02 Safe European Home 03 The Leader 04 Train In Vain 05 White Man in Hammersmith Palais 06 This Is Radio Clash 07 Spanish Bombs 08 The Guns of Brixton 09 The Call Up 10 Bankrobber 11 Complete Control 12 Lightning Strikes 13 Ivan Meets GI Joe 14 Charlie Don’t Surf 15 The Magnificent Seven 16 Broadway 17 Somebody Got Murdered 18 Police and Thieves 19 Clampdown 20 Capital Air (with Allen Ginsberg) 21 One More Time 22 Brand New Cadillac 23 Washington Bullets 24 Janie Jones 25 Armagideon Time 26 London’s Burning 27 White Riot
“Whatever was bugging Joe Strummer so evidently on the night before when the pro-recordings were made had been resolved by the time he took the stage on the 10th. The result was a superior performance, one of the best Bonds shows and while the 9th show somewhat fizzled out with only one encore which ended with Washington Bullets, tonight there’s two excellent encores ending with a manic White Riot. Thankfully one of the best Bonds audience recordings captured the concert in its entirety making this one of the best Bonds bootlegs to own.“
Announcing the original dates. Matinee and evening shows were scheduled, with tickets costing $5 and $10 respectively and sold via the venue and Ticketron. When the authorities stepped in, only those holding Ticketron tickets were allowed inside and the rest had to attend a newly arranged date. The poster, sold at the gigs for a couple of $’s or obtained for free in other ways, is now worth some serious money.
So, what went wrong?
City Shuts Bonds Disco; Clash Show Is Canceled
By United Press International
Published: May 31, 1981
A performance of the punk-rock group the Clash was canceled yesterday following an order to close the crowded Bonds Disco on Times Square, where it was to have taken place.
Hundreds of angry fans were cleared off 45th Street by mounted police officers after it was announced that the London-based group would not perform its scheduled 1 P.M. show.
”Hell, no! We won’t go!” chanted the fans, some of whom had waited in line since 3 A.M.
It took about 20 minutes to disperse the angry group of 800 fans. No arrests were reported. The show was canceled after the city Buildings Department issued an order requiring the disco to shut down because of a problem over exits.
Joel Heller, the disco’s manager, said two June matinees had been arranged for the fans who were to have attended the afternoon show yesterday.
Bond’s, a former clothing store at 1526 Broadway, was closed early by fire officials Thursday night after inspectors reported that they had counted more than 3,600 people jammed into the club. Each customer had paid $10 to see the Clash. The club can legally accommodate only 1,800 people.
“Angry ticket holders rioted outside, filling the streets of Times Square, stopping traffic and drawing dozens of police officers to quell the rage. One website claims Times Square hadn’t seen that much commotion since V-J Day. The story made international news the next day.
Cream says, There s confusion over the numbers game, and inside it’s a sardine sauna. Fire marshalls count 3600 heads leaving the club in what has been a testy evening. Support acts suffered, being booed and hissed by the diehard fans impatient for the arrival of their heroes.”
The band’s official website states “… in a move reportedly involving murky inter-club politics”. Based on what the poster below indicates, ticket holders were turned away from the first (or 2nd performance – if there was a matinee as well). “On the way out the fire department were counting the number of people leaving the building.” and quickly found out how many tickets had actually been sold.
Bond’s had recently branched out from disco dancing into rock shows, with the Ramones, Blondie and the Plasmatics performing there but nobody had attempted a whole series of concerts at Bond’s with enough ticket sales to fill Madison Square Garden twice.
A more cynical pint of view: “It was partially a public relations stunt, since they knew the mad scramble for tickets would make for great press. These were their only American dates of the year, and demand outstripped supply by a huge margin. Fans slept in the streets to score tickets, and that was no fun task in Times Square in 1981.“
I only found this comment from a member of the Clash themselves: “They sold the same number of tickets for a gig that happened the night before with a group called the Plasmatics,” bassist Paul Simonon said. “And they blew up a car on stage!” ”
“The Clash shows at Bonds in New York were the height of classic Clash selfpromotion. Well in my eyes at least. Like Joe disappearing before concert tours, or Topper s in Topper s out. How exactly does one over sell tickets to a show. You know the occupancy level of a venue, it s a finite number. You sell X many tickets per show. How hard can that be? But not Bonds. Not this time. There were so many people packed into Bonds in the first days, the city closed down the May 30th show. The munificent and magnificent Clash said we ll just play more shows. Isn t it amazing that Bonds had nothing else booked for the days those 17 shows were on? Hmmm. Nor the Clash? Hmmm.” [www.go2jo.com/music/the-clash-bonds-nyc-1981/#ixzz3uwCtd0Go] Definitely visit Joe Streno’s blog for his great photos and commentary.
CLASH MELEE POINTS UP DANGER OF OVERSELLING
By Robert Palmer
Published: June 3, 1981
The Clash concerts at the Bond’s International Casino, West 45th Street and Broadway, have been causing quite a stir, and not because of the British rock band’s political lyrics and incendiary performing style. Bond’s was closed by the city Department of Buildings on Saturday after the Clash played to a crowd estimated at 3,640 people; the club’s legal capacity is 1,800.
But after the club complied with building inspectors by installing fire-exit signs and making other minor alterations, it was allowed to reopen – on the condition that audiences not exceed the legal limit.
The Clash agreed to play six extra performances to accommodate ticket-holders who were turned away from this week’s performances. The reason ticket-holders are being asked to attend the added performances is that the Clash’s engagement was dramatically oversold. Anyone who has attended rock shows in large clubs like Bond’s and the Ritz knows that overselling is nothing new. Other Incidents
One downtown club that is closed oversold an engagement by Chuck Berry so heavily last year that the entire block in front of it was packed by angry ticket-holders who were unable to gain admission.
The Fire Department arrived and demanded that the crowd from the first show be cleared out. The second show finally got under way at around 5 A.M.
More recently, a show by Adam and the Ants at the Ritz found the club jammed and a large number of people pressed together outside, hoping to get in.
In a related incident, a full house at the Ritz began throwing bottles at the club’s video screen two weeks ago when the British band Public Image Ltd. performed behind the screen, refused to come out from behind it, and taunted the audience. Several fans then stormed the stage, ripping down the screen and destroying equipment. There was a moment of near-panic on the crowded dance floor, though apparently no one was hurt.
As more and more rock groups choose to play large clubs like Bond’s and the Ritz, which have open dance floors rather than the reserved seats found in theaters and sports arenas, incidents like these can only multiply. All nightclubs are limited in capacity by the Fire Department, but in the past, these limits have been widely ignored. They should not be. Possibility of Legislation
If rock shows at large clubs result in more trouble, and especially if there are injuries, legislation governing ticketing, security and other rock-club procedures might well result.
Such legislation would undoubtedly make it more difficult for rock clubs and independent promoters to hold their own in an increasingly competitive marketplace.
The options seem clear. If the city’s rock clubs do not do a better job of regulating themselves, someone else is going to step in.
