Asian Tour

updated 14 July 2008 - full tape review & background info
updated 12 April 2011 - added One Gig Too Far

Audio 1

vlowgen – 3.5 sound –1hr 47mins - 27 tracks

Train In Vain

Audio 2 – One Gog Too Far

master – 3.5 sound –1hr 51mins - 27 tracks

Train In Vain

Sources

The master audience recording in circulation is almost complete and of good quality. All instrumentation is clear although bass is somewhat buried. It is stereo miked so there is some limited stereo separation. The downside is the taper was some distance from the stage, probably the balcony, with resultant distance and lack of depth of sound issues. As a result vocals are clear but somewhat distant and Mick’s lead guitar lacks some impact, reducing the enjoy ability of an otherwise fine recording.

Higher generation tapes circulate which maybe incomplete.

Culture shock of being in Japan

The kick The Clash got out of the culture shock of being in Japan and the joy and genuine affectation shown to them by the fans there, resulted in some great, inspired performances. This second night of the tour was certainly one of those and it’s all captured on a quality master audience recording which circulates widely. The encores on the 2nd CD are the most enjoyable performances.

The band travelled by bullet train from Tokyo to Osaka for the concert; it’s all documented in Sho Kikuchi’s photos and in the Sounds article dated 6th March 82 (link). Any tensions within the band from the NYC recording sessions had seemingly evaporated with the band in high spirits. They play 4 encores for the highly enthusiastic audience, extending and improvising songs with Mick and Joe pumped up throughout. Indeed, in drug free Japan Mick un-mellowed by his usual spliff intake is on fire belting out the lyrics often taking over on lead vocals from Joe! It’s one argument for the re-classification of cannabis overlooked by Gordon Brown!!

Harako Minakami writing for Sounds rated this concert as better than the first night saying Joe was very cheerful and the concert fast paced. The Osaka audience went wild which encouraged the band. Despite being allowed to stand, there were still gaps or fences between stage and audience to stop the audience Haroko missed the intimacy of standing right by the stage he had experienced at London Clash gigs.

Tickets

Clash City Collectors

The Festival Hall in Kita-ku, Osaka

The Festival Hall in Kita-ku, Osaka was opened in 1958 especially for the first Osaka International Festival. The Hall seats 2,709 and is a prestigious venue; the home of the Osaka Philharmonic Orchestra. There are plans to redevelop the site in 2009. The Clash concert was quite an event in the Hall’s history being the first time an audience had been allowed to stand. Fans though were still prevented from getting close to the stage by barriers.

energy and mania fuelling the band

The recording starts with the Morricone intro and then with a “Welcome, long time we’ve been coming, but now we’ve come!” and its into London Calling, the constant set opener here on in. Throughout the gig Mick and Joe are pumped up particularly Mick who is almost manic in his commitment; completely absent tonight is the phoning in of performances an increasing feature of some of the band’s late 82 shows. The audience clap along, their energy and mania fuelling the band’s.

The performance of One More Time next is a highlight (as usual); its inventive, involved and very enjoyable. Like most songs tonight it’s extended, the band improvising along the lines of the ‘raga soundscapes’ they recorded for Rat Patrol. Mick’s musical inventiveness and constant changes to his guitar sound are remarkable, demonstrating his vital contribution to ensuring the band were still moving forward musically, with no sign of stagnation (yet). Joe is impressed with the audience shouting out the chorus “yeah” he adds in approval, the band rip it up in response.

A pause then Topper hits the snare drum teasing out the start of Safe European Home whilst his band mates get ready. “Jail house Rock” shouts Joe incongruously then as the music drops down adlibs “Shush Rudi come down, yeah he went down, you come from Jamaica, Rudi Can’t fail” Topper’s drumming holding it altogether magnificently.

“OK? How about you people up there – now Mr Michael Jones” Mick’s guitar sounds thin on Should I Stay; it’s not as brilliant as the night before but still sounds fresh with new post recording sessions Strummer Spanish accompaniment. “A new song, now we’re gonna do another, Know Your Rights in Japanese is...” Joe is still talking over the music there’s still not yet the full meshing of words and music.

Guns Of Brixton is a long 5 minute extended performance with an improvised intro and ending Indeed Mick’s improvisations confuse Paul so that he’s not sure where to come in vocally! Train In Vain gets the extended treatment too particularly over the ending with some fine playing from Mick.

“What does it sound like, you hear good?” Joe asks the audience (in typical Englishman abroad pigeon English!) then shrieks “Wwoooah!” as the band launch into Magnificent Seven. Mick shouts out “the you lot” refrain in a mock school masters voice and the band improvise on a fine if unexceptional performance. Despite plenty of effort Ivan Meets GI Joe and particularly the instrumental section still sounds lame as usual.

“And now Mr Michael Jones is going to break your heart!” Mick’s in good voice on Stay Free which is also extended very effectively. There is an edit which re-starts at the beginning of Clash City Rockers and then a further edit shortly after which loses around 30 seconds; presumably a tape turn over. Mick’s singing is really impassioned and Joe gets the audience to shout Clash City Rockers over the ending.

After a fine drum and bass lead off the band extend Junco Partner; stretching out and improvising very enjoyably. From loose and slow there’s a marked change to tight and fast on Koka Kola and The Leader. “Mooorder, Mooorder!” shouts Joe then Joe wails over the start of the Somebody Got Murdered intro. Mick tries a more elaborate longer intro but Topper brings it to a head before he can finish! Mick’s singing is somewhat off key on an OK performance. Topper than takes it straight into a pumped up Janie Jones;Topper’s great drumming holding it altogether.

After a short pause Mick screams “1-2, 1-2-3-4” and the band explode into Clampdown, as usual a great set closer. Mick sounds like the lead vocalist partly because of the taper’s position but mainly because Mick is so pumped up! Mick and Joe trade off each other vocally and the band whip it up. Mick lays down some great guitar effects then its just drum and bass, “working for the clampdown” repeats Joe. Then the band whip it up again almost instrumentally before the music drops right down again and Joe adlibs “Going to sing a song, I’m going around the world - if we’ve still got a world left!” Topper’s inspired added drum rolls build it back up to a great climax. A definite highlight.

The second CD restarts with the audience clapping for more and then Topper beats out a repeated pattern before the band come in and Joe’s red Indian ‘whoop!’ starts an exceptional extended This Is Radio Clash. Joe adlibs “This is Radio Clash – I ain’t gonna be proud, ain’t laying down and die, get up and say why!” The band improvise effectively, Mick finds a new guitar sound and Topper’s equally imaginative drumming brings the song to an end reducing to a slow beat before in effect segueing into Armagideon Time. Mick adds his now customary ear splitting scream to again an extended improvised performance. After a teased out start it’s into Brand New Cadillac, “This one’s called Brand New Toyota!”

The band leave the stage but soon return in response to the audience shortly for the second encore with Topper again alone starting off before Paul’s bass line signals the start of Bankrobber. Mick leads off the vocals then Joe takes over on another improvised fine performance. An edit loses nothing at the start of Charlie Don’t Surf. Mick delivers another unique guitar sound; a further example of how the band were still evolving musically; not standing still. The band leave the stage after a pumped up Career Opportunities.

An edit restarts with the third encore and Topper’s drum rolls intro to Complete Control. Again a variation on previous versions; slowing down the tempo then speeding up. Sound quality improves here on in with Mick’s guitar clearer on his solo, the taper in a better position maybe. Joe adlibs “Well you know, going down to Japan and its 5 years” as Mick plays some great lead guitar, adding “..and your mummy and your daddy want control” Mick and the band lay it down hard, clearly enjoying themselves. Joe then shouts “Osaka’s Burning” and the band storm through London’s Burning. “We’re gonna do another number when we decide what is!” says Joe (wanting to reward the audience with White Riot but needing Mick’s approval?) Either way there’s quite a gap as the band leave the stage.

With a shouted “1-2, a 1-2-3-4” the band kick into White Man in Hammersmith Palais and the 4th encore! The band are really pumped up; Joe adds Japanese to the army and youth lyrics and they stretch out extending the song which ends with a great repeated drum roll flourish. It segues into the inevitable final song; White Riot. After a suitably chaotic start its charged and tight. A terrific ending to a great gig. “See you again some day!” Sooner than Joe thought as an extra Osaka date was added at the end of the scheduled dates in response to the audience reaction here.

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Setlist

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27

London Calling One More Time Safe European Home Should I stay or Should i Go Know Your Rights The Guns Of Brixton Train In Vain The Magnificent Seven Ivan Meets GI Joe Stay Free Clash City Rockers Junco Partner Koka Kola The Leader Somebody Got Murdered Janie Jones Clampdown This Is Radio Clash Armagideon Time Brand New Cadillac Bankrobber Charlie Dont Surf Career oportunities Complete Control Londons Burning White Man in Ham Palais White Riot

Original Setlist

Mick Jones’ handwritten set list for The Clash’s January 25, 1982 concert at the Festival Hall in Osaka.