The Capital Radio EP-Beaconsfield Film dilemma

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Red Angel
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The Capital Radio EP-Beaconsfield Film dilemma

Post by Red Angel »

Let's start with this review of the double boot CD "Deadly Serious":
...Next is a version of White Riot from the Dunstable video shoot, where the Clash performed White Riot, 1977 and London’s Burning in front of an “audience of one” in the shape of Tony Parsons, who also conducted an informal interview. There is some dispute as to the date of this event. Black Market Clash gives the date as 26 April 1977, though the site states there is “some doubt over this date.” The site acknowledges the performance of two shows in France, in Rouen and Paris on 26 and 27 April (and tentatively dates two others, in Le Mans and Le Havre, to the 24th and 25th). It therefore seems unlikely that the band was performing for the video shoot in Dunstable on the 26th. The track listing on this release gives the date as 28 April, which would seem almost as unlikely, and mistakenly gives the location as Beaconsfield. Gray gives the date as “mid April” and Topping more specifically states 17 April, which date I have followed in the track listing above. The version of White Riot here is the one that was later remixed to exclude the backing vocals.
...Disc two opens with the three Dunstable video shoot songs, 1977, White Riot (this time with the backing vocals intact) and London’s Burning. It seems that the shoot, which was directed by Lindsay Clinnel, was done to promote the band’s debut single, White Riot (Topping refers to it as the “White Riot Promo”) and the fact that the shoot included the single’s b-side, 1977, would seem to back up that claim. Gray notes that, “at the time of its making…the film was a promotional vehicle with no real outlet. Part of it was shown in the Virgin record shop near Marble Arch, but the few dozen record purchases this possibly inspired hardly justified the expense of its making.” Tony Parsons contends that, “they were fucking blistering,” and it is hard to disagree with this assessment. Indeed, it is difficult to imagine more exciting performances and these three songs collectively form a highlight of this set. The opener, 1977, is a fiery, playing out punk’s rejection of the musical past, is fiery and energetic. White Riot is played in a thrilling version taken at a frenetic pace and London’s Burning receives the sort of powerful performance which Strummer’s opening feral snarl so clearly presages. This version of London’s Burning will be familiar to many as the b-side of the band’s second single Remote Control, where it appeared simply as “London’s Burning (Live)” with no further details of its provenance. Performances of all three songs, together with brief excerpts from the interview can now be seen on the official DVD release The Essential Clash (where they are dated 1976). The full, clear sound adds to the enjoyment of these excellent performances.
https://www.collectorsmusicreviews.com/ ... us-rl5058/

Other elements:

from Wikipedia Capital Radio E.P.:
The extended play Capital Radio was released on 9 April 1977, and was given away to readers who sent off the coupon printed in the NME, plus the red sticker found on the band's debut studio album The Clash (1977). It was produced by Mickey Foote and engineered by Simon Humphrey. The interview was with the NME's Tony Parsons.
Joe Strummer - lead vocal, rhythm guitar / Mick Jones - backing vocals, lead guitar, rhythm guitar / Paul Simonon - bass guitar / Terry Chimes - drums. ...... "Listen" same personnel.

from Clash official site:
Available by mail order only through the NME, this EP included Capital Radio, the first song to feature drummer Topper Headon.

from Keith Topping's "The Complete Clash":
Capital Radio recorded along with Listen at CBS on Sunday 3 April 1977... the recording was Terry Chimes' final studio performance with The Clash.
London's Burning: a splendid "live" version (taken from April 77 White Riot promo film in Dunstable) was released on the B-side of the Remote Control single.

From Pat Gilbert's "Passion in a Fashion":
-Friday 11 March 1977 at Coliseum, Harlesden (Terry Chimes only gig in 1977)
-March 1977: auditions for a new drummer
-24 March 1977 Mick Jones meets Topper Headon and invites him to the rehearsal
-10 April 1977 Topper Headon is officially presented at the Roundhouse
-26 April 1977 the band (with Topper) leaves for Paris

As you can see the dates do not match, unless Terry Chimes continued his work while Topper Headon rehearsed.

Does anyone know how to solve the dilemma?
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Re: The Capital Radio EP-Beaconsfield Film dilemma

Post by muppet hi fi »

The dilemma of hard core trainspotting will never be solved, mate. ;)

EDIT: "Capitol Radio" is Terry on drums, and very obviously so, no matter what anyone says.
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Re: The Capital Radio EP-Beaconsfield Film dilemma

Post by matedog »

Mid April (17th?) sounds reasonable for the Dunstable footage.
Look, you have to establish context for these things. And I maintain that unless you appreciate the Fall of Constantinople, the Great Fire of London, and Mickey Mantle's fatalist alcoholism, live Freddy makes no sense. If you want to half-ass it, fine, go call Simon Schama to do the appendix.

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Re: The Capital Radio EP-Beaconsfield Film dilemma

Post by Silent Majority »

I'm pro-Red Angel pursuing his line of inquiry here.
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Re: The Capital Radio EP-Beaconsfield Film dilemma

Post by Red Angel »

Well, we know the names of those who shoot the pigeons on the roof, we know the names of the hotels where the group was staying, we know the names of those who occupied the flat with Joe Strummer, we know about marathons and meetings in pubs, we know almost everything because in the world there are many biographies, DVDs, etc. on the history of the Clash.
But there are people, including myself, who are perhaps a minority, who want to know everything about music. The chronology of the recordings, who plays and which instrument plays, who was the sound engineer, which recording studio. But not general information, information about every single tracks. Because in the end what counts for an artist is only his music, where there is everything. It is the testament that leaves it to everyone. :scared:
For the Clash is missing what Mark Lewisohn and Ian MacDonald did for the Beatles or Marc Roberty for Eric Clapton, so after thirty years we do not know when Paul is playing bass, who plays "Walk Evil Talk", etc. etc.

About the topic dilemma this one that writes Keith Topping on "The Complete Clash" (for me the best book) :!: :
Capital Radio (One) / Listen: recorded 3 April 1977 at CBS Studio, with Terry Chimes on drums.
White Riot Promo Film (White Riot / 1977 / London's Burning): recorded 17 April 1977 in Dunstable with Topper Headon on drums.
Therefore the B-side of Remote Control it is the first official recording of Topper with The Clash.
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Re: The Capital Radio EP-Beaconsfield Film dilemma

Post by Kory »

Red Angel wrote:
14 Apr 2018, 6:51am

For the Clash is missing what Mark Lewisohn and Ian MacDonald did for the Beatles or Marc Roberty for Eric Clapton, so after thirty years we do not know when Paul is playing bass, who plays "Walk Evil Talk", etc. etc.
I'm hoping this book might shed some light on this stuff:
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Re: The Capital Radio EP-Beaconsfield Film dilemma

Post by Heston »

Kory wrote:
16 Apr 2018, 2:25pm
Red Angel wrote:
14 Apr 2018, 6:51am

For the Clash is missing what Mark Lewisohn and Ian MacDonald did for the Beatles or Marc Roberty for Eric Clapton, so after thirty years we do not know when Paul is playing bass, who plays "Walk Evil Talk", etc. etc.
I'm hoping this book might shed some light on this stuff:
Not much difference between the two versions of White Riot? This doesn't bode well.
There's a tiny, tiny hopeful part of me that says you guys are running a Kaufmanesque long con on the board

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Re: The Capital Radio EP-Beaconsfield Film dilemma

Post by Flex »

Kory wrote:
16 Apr 2018, 2:25pm
I'm hoping this book might shed some light on this stuff:
Interesting, wasn't aware of this. I have an "all the songs" book which covers every Dylan track to be officially released, which I love. This one looks a little more slapdash than that tome, but I may pick it up since it's a type of music analysis I enjoy (even if, as Heston points out, asserting that the single and album versions of White Riot aren't very different is a fairly dubious assertion at best).
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Re: The Capital Radio EP-Beaconsfield Film dilemma

Post by Kory »

Heston wrote:
16 Apr 2018, 3:47pm
Kory wrote:
16 Apr 2018, 2:25pm
Red Angel wrote:
14 Apr 2018, 6:51am

For the Clash is missing what Mark Lewisohn and Ian MacDonald did for the Beatles or Marc Roberty for Eric Clapton, so after thirty years we do not know when Paul is playing bass, who plays "Walk Evil Talk", etc. etc.
I'm hoping this book might shed some light on this stuff:
Not much difference between the two versions of White Riot? This doesn't bode well.
I can kind of see where he's coming from (more about arrangement than tone), but he definitely could have been more thoughtful about that line.

edit: I also hope the descriptions are going to be much more fleshed out than what we see there...
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Re: The Capital Radio EP-Beaconsfield Film dilemma

Post by Heston »

I also can't remember the three guitars on Hate and War but would have to recheck that one.
There's a tiny, tiny hopeful part of me that says you guys are running a Kaufmanesque long con on the board

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Re: The Capital Radio EP-Beaconsfield Film dilemma

Post by Red Angel »

A similar book already exists, Tony Fletcher "The Clash: The Music That Matters"
https://www.amazon.com/Clash-Music-That ... 1780383037
Regarding Popoff's book, I saw a preview on Google Books, nice packaging and nice photos but nothing new. Personally I was hoping for a more specialized book.
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Re: The Capital Radio EP-Beaconsfield Film dilemma

Post by Heston »

Heston wrote:
16 Apr 2018, 7:48pm
I also can't remember the three guitars on Hate and War but would have to recheck that one.
Yeah, there's 3 guitars but he got it wrong about the line mentioning "Greeks", as we established it was "walking grease" a while back.
There's a tiny, tiny hopeful part of me that says you guys are running a Kaufmanesque long con on the board

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Re: The Capital Radio EP-Beaconsfield Film dilemma

Post by Kory »

Heston wrote:
17 Apr 2018, 5:16am
Heston wrote:
16 Apr 2018, 7:48pm
I also can't remember the three guitars on Hate and War but would have to recheck that one.
Yeah, there's 3 guitars but he got it wrong about the line mentioning "Greeks", as we established it was "walking grease" a while back.
Marcus Grey thought it was Greeks too, didn't he? I remember being quite young trying to figure out how he got to that conclusion.
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Re: The Capital Radio EP-Beaconsfield Film dilemma

Post by Kory »

Red Angel wrote:
17 Apr 2018, 4:00am
A similar book already exists, Tony Fletcher "The Clash: The Music That Matters"
https://www.amazon.com/Clash-Music-That ... 1780383037
Regarding Popoff's book, I saw a preview on Google Books, nice packaging and nice photos but nothing new. Personally I was hoping for a more specialized book.
Has any one read the Fletcher book? Is it just the same old info?
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Re: The Capital Radio EP-Beaconsfield Film dilemma

Post by Heston »

Kory wrote:
17 Apr 2018, 12:55pm
Heston wrote:
17 Apr 2018, 5:16am
Heston wrote:
16 Apr 2018, 7:48pm
I also can't remember the three guitars on Hate and War but would have to recheck that one.
Yeah, there's 3 guitars but he got it wrong about the line mentioning "Greeks", as we established it was "walking grease" a while back.
Marcus Grey thought it was Greeks too, didn't he? I remember being quite young trying to figure out how he got to that conclusion.
To be fair the first Clash songbook printed the lyric as "kebab greek" which it sounds nothing like.
There's a tiny, tiny hopeful part of me that says you guys are running a Kaufmanesque long con on the board

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