Supported by Kurtis Blow

Last updated 7 March 2007
Last updated 8 July 2008 - Added punters view (GPAnderson)
Last updated 21 Jan 2016
updated June 2021 added photo

Audio 1 - from audience master

Sound 2 - 86min - low? - tracks 21
Very slow. Make sure you get the pitch corrected version

Audio 2 - pitch corrected - Soundboard

Sound 5 - 100 mins - tracks 23 - 7 March 2007

Audio to follow

Two recordings circulate of this gig:

Audience master recording is incomplete missing the last few songs. It is from the master but of poor sound quality however it does cover the gaps missing in the soundboard recording so together provide a complete recording of the gig (except the end of Garageland). 

Soundboard recording loses the end of Police On My Back, the start of Magnificent Seven, start of Armagideon Time and end of Garageland (presumably the last song played).

It is very low gen probably from the master tape as the hifi sound quality is excellent. It is a raw soundboard, not professionally mixed but does have stereo instrument separation at times during a number of songs presumably from the sound desk on the night.

It is heavily compressed and guitars a little too far back in the mix on a number of songs, vocals though are to the fore and very clear indeed.

There is good range and excellent detail giving a very clear sound picture of the live Clash sound on this tour. It runs audibly slow making the songs sound rather limp however this is easily corrected on Audacity etc. and then makes for a very enjoyable sound.   

Hifi soundboard recording

It was with great expectation when this hifi soundboard recording was circulated back in 2007. However, like most people on listening that turned quickly into disappointment at the seemingly plodding lifeless contents and it has lain unplayed again until coming round to reviewing this gig. 

First impressions though are often misleading and this is no exception. It is a raw  unmixed soundboard (although instruments are stereo mixed in places presumably live at the desk) however once speed corrected and the heavily compressed sound enhanced, the hifi sound quality coupled with some exceptionally enjoyable performances make this definitely a recording worth getting hold of.

The very positive accounts and reviews of the gig also confirm that this was a very memorable night in Akron.   

The band’s troubled journey from Detroit to Akron during which they were arrested for speeding Joe recalls onstage in top Strummer adlibbed rant style during Magnificent Seven.

Poster

Pass

Tickets

The Akron Civic Theatre

The Akron Civic Theatre was built in 1929 as Loew's Theatre. It is one of only sixteen remaining atmospheric theaters designed by John Eberson in the United States and is an excellent example of the great movie palaces of the 1920s. During the gig Joe asks for the house lights and amusingly refers to the architecture in the auditorium which was designed to resemble a night in a Moorish garden. Twinkling stars and drifting clouds travel across the domed ceiling and the interior of the entrance and the lobby is designed to resemble a Moorish castle with Mediterranean decor complete with medieval style carvings, authentic European antiques and Italian alabaster sculptures!

The Civic is located on South Main Street in Akron and seats 5,000 people it was renovated in 2002 at a cost of $22.5 million and is still going strong. In the 60’s though it faced being turned into a parking lot until it was saved by the Akron Women’s Civic Guild! Native of Akron Chrissie Hynde tried to start a group with Mick Jones back in the day and he invited her to join The Clash on first UK tour. On October 17, 2008, Chrissie was an opening act for fellow Akron-area musicians Devo at a special benefit concert at the Akron Civic Theater for then-presidential candidate Barack Obama.

Photo: Taken by Chris Downey on the day

For those people at the back who don’t know what’s going on we’re just trying to find out who employs the security here

The soundboard begins with the Morricone intro in hifi stereo and then Strummer (in glorious mono!) says “Good evening to you all London Calling to the faraway towns”; the audience sound far away too! Mick’s “London Calling” backing vocals very clear but guitar’s too weak in the mix, Mick plays a variation on his solo but it lacks punch in the sound. Joe hangs out the “like,like,like” at the end of song then Mick plays the guitar intro to The Leader, Joe not unusually mixes up some of the lyrics, the band warming up still. “This is Radiooooooooahhh“ the band getting into it now on Radio Clash, great detail in the sound, Mick’s guitar licks and added effects clear and effective, Paul’s bass lines clear. Played fast and tight. Sounds great, Terry’s drumming effective ”everyone hold on tight” as Joe signals an instrumental section with Joe adlibbing over top of Mick’s effects and drum and bass.

“OK let’s have the lights on a minute Mr Foster” says Joe and then seeing the lit up beautifully ornate auditorium continues “How do you do everybody. I think some kind of imaginative person built this place, someone obviously into some kind of European thing or perhaps they were just high on something! This song Mr Mick Jones will start, comes from the vaults”. Clash City Rockers sounds great but needs more guitars but with vocals to the fore, drives along with real energy. “The following is a public service announcement with geeeetar” Terry’s thump thump to the fore on a very enjoyable Know Your Rights but Paul’s bass lines bubbles along underneath and Joe’s vocals really in your  face. Mick’s solo rather slow and ponderous but band then bring tempo back up again fast and tight. Mick’s guitar fills then great but too far back in mix.

“Mr Paul Simonon” and he and Joe switch guitars for Guns of Brixton Mick’s guitar and effects more upfront here, sounds great. A highlight the band stretching out on the  instrumental sections and for the first time stereo instrument mix near end  makes it sound even better. Curious as to why only parts of songs get the stereo treatment.

Long pause as presumably the security are being heavy handed with those wanting to dance as Joe says “If you’ll just give us a few moments here. For those people at the back who don’t know what’s going on we’re just trying to find out who employs the security here so if you’ll just stay there for a moment  and tell each other who’s sleeping with who and who’s coming out of the closet this week! OK Gentlemen, Mr Terry Chimes on the drums please” Terry strikes up the intro to Train In Vain and the hifi soundboard sound greatly adds to the enjoyment of this now again set staple with Mick’s soloing at end clear, improvising effectively.

Mick’s The Call Up intro effects are loud and clear and in stereo but rather drown out the guitar intro. The vocal interplay between Joe and Mick though is crystal clear with now Mick’s solo and fills very clear and upfront; sounds great. Joe’s “Hup 2-3-4’s, I love the marine corps” are repeated by the audience and then Joe interrupts with “Rooock The Casbah” The song drives along; the “over at the temple” section in particular sounds great.

“Wooah, Woooah”;Joe’s cries echo around the Civic Theater before Terry’s intro to Police & Thieves crashes in. Mick’s guitar is too thin to begin with only. He improvises around his solo, keeping these older songs fresh and interesting to the band (and audience) but also demonstrating his ability and need to almost continually refine and alter arrangements. In keeping with this the now standard ”dub wise” instrumental section drops it down and then Terry kicks it back in and the song really starts then to fly; the two guitar attack sounds great. Joe adlibs “wasn’t anyone’s fault could have been anybody, go out on a night like that and end up in the morgue. They say he got caught between two sides (echoing Johnny Was), he got caught between two sides, ain’t no fun being the meat in the Police sandwich - he got shot down that night” Finally the band bring a very impressive performance to a close.

“Like to follow it up with another cover” (and keep the Johnny Was theme going) as Mick proceeds to belt out Police On My Back with Joe now on adlibbed backing vocals. The twin guitars on the instrumental section get the stereo separation treatment and sound terrific. Near the end of the song the soundboard stops but the poor audience source continues and highlights the atmosphere and enthusiasm of the sell-out audience.

Joe then talks to the skater punks about their skateboards, his words unclear though  before the band kick into a definite highlight of the gig; Magnificent Seven. The soundboard source restarts after a few bars in and in stereo and sounds terrific; Joe’s vocals crystal clear over Mick’s great lead guitar. “Cheeseburger please sir…. Thank you very much as they say in Buckingham Palace!” Joe and Mick’s vocal interplay a real delight with Mick’s effects loud and clear cross fading from one speak to another. After the “vacuum cleaner” line Joe raps perhaps in imitation of Kurtis Blow not guesting tonight as previously on this song ”don’t stop moving, don’t stop moving, signing on, knocks you on the head…put your money in now.. yeah I think we got  it going here“ Joe acknowledging the band are flying and then launches into a great Strummer adlibbed rant about their journey etc; “Well it’s a long way down to this kind of rubbery town (‘Akron rubber capital of world’ home of Firestone) you have here. Fact we’re there somewhere in the middle of the wilds looking for this so called Ohio turnpike and we can’t find the thing anywhere and now we end up in Toledo, it’s kind of getting boring zooming around Toledo for the 59^th time and something strikes me, Toledo might well be the centre of the universe and all we’ve got to do is send Allen Ginsberg there or poet conventions we’ll hold it in Toledo, we’ll call it a Beatle convention, we’ll get Ringo Starr to cut the tape open and we’ll get Nancy Reagan to go down there wearing a banana skin zipper suit coupled with a nice gorilla suit outfit for her bodyguard and we’ll declare Toledo the capital of the United States. I enjoy its very attractive ring road system which you cannot escape no matter how much you try, you cannot escape! So Terry Chimes put that carburettor beat on. Magnificent! Magnificent! Magnificent!” The band bring the nearly 8 minute version finally to an end. 

Joe then continues “If any of you people are still there! This is a gambling story, I’m sure some of you know how to shoot craps. Well let me tell you I’ve no idea how to shoot a game of craps, I’ve seen them do it in films, you get a blanket and some dice and you all gather around and you fold your money like that down the middle and you wave it around and talk big and this is entitled the Wrong ‘Em Boyo” Again sounds great, the band tight, Joe in great voice and Mick adding his contrasting but perfectly complimentary backing vocals (“don’t mess with that chemistry”!)

Careeeeeeeeeer Oppo opppppoooo tune-tune-itties” Mick sings joint lead with Joe as band belt out a fast Career Opportunities. “And Mick Jones is going to sing Muuuurder - like they say in Kingston Jamaica” Mick again comes up with yet another improvised variation to the crescendo intro to Somebody Got Murdered. Joe belts out his backing vocals, Terry’s drumming fine, the band maintaining the terrific momentum through to the end of the main set. Boing! Into Brand New Cadillac; guitars a little too far back in mix still but otherwise an excellent performance, the band flying and approaching the end of the song again there’s stereo separation of instruments making it sound even better.

Terry has given up trying to hit the crescendo intro peak on I Fought The Law like Topper but his version still sound’s great and the band end the main set with a terrific, fast, tight, and committed performance.

Mick leaves some chords hanging as the  band leave stage to audience roaring for more  captured on the audience source which continues uncut to Terry and Paul’s rhythm section intro to Armagideon Time. About a minute after the soundboard restarts with  the start of Joe’s vocals; a fine if unexceptional performance with Joe’s adlibbed vocals in hifi clarity the interest here. Should I Stay or Should I Go fine but the band struggling to find the fire they had before on the encores. “Uno, dos” Joe orders and Mick responds “1-2-3” and band launch into Clampdown. Mick plays another variation on his lead guitar intro and later as the band drop it down to drum and bass Joe adlibs “Staring out at Three Mile Island, since then radioactive bubble gum has become the latest rage , Geiger countering..” but again it doesn’t quite hit top gear, very enjoyable nevertheless.

Soundboard continues through to the second encore so if you turn up the volume you can hear the enthusiasm of the 5,000 or so sell-out crowd chanting “We want Clash”. Terry’s thump thump bass drum intro begins an excellent hifi quality Straight To Hell with stereo separation on the drums and Joe’s vocals in your face. Then it’s Terry’s sustained intro to Janie Jones before Mick’s guitar and Joe’s vocals build it up, or attempt to as it lacks edge and intensity acknowledged perhaps by Joe over the ending “something wrong here, some kind of repetition” They step up though the intensity on a fine Garageland to close the show, the soundboard recording ending shortly after the “guttersnipes” line.

Clash: A sandblaster for rock and roll's soul

82 08 17 The Windsor Star Tue (Detroit)

Scene Review

USA Music paper

Clash bursts on scene with full head of steam

Cleveland Plain Dealer

19 Aug 82

Did you go? Comments, info welcome...

Info, articles, reviews, comments or photos welcome.
Please email blackmarketclash

Taper

"I remember the Akron show. I live just about two miles from where they played, at the Akron Civic Theater, which is a beautiful old theater with a false sky ceiling and an amphitheater layout. I thought it was cool that I could walk to a show instead of the usual drive to Cleveland.

The show was good. I was about 60 feet back. They had the projection screen backdrop. I would have preferred more first two album stuff. Later I attended the Kent State show and they played a slightly different set." "I missed Garageland, and maybe one other as the tape ran out."

That is fucking Joe Strummer in the back

Memories of the Clash Concerts October 1982

Since August 16th and October 17th 1982 I have seen the Clash in concert in three different cities. I have seen some great performers and concerts over the last six years. The list includes Elvis Costello, Iggy Pop, the Ramons, Blonde, the Jam, Squezze, David Johansen, and DEVO to name a few, however, these three Clash shows were the most intense and memorable concerts I ever saw.

Detroit

The first show was in Detroit at the Grand Theater on August 16th. I went to the Show with Hale and Hunter Driggs. We got there early and I took pictures of the crowd outside of the show. We crashed at Hales Uncle Fred's house after the show. The next morning we drove to Toledo to drop Hunter off (he was not going to Akron to see the show that night).

Akron

Hale and I left Toledo for Akron in his car. He drove on a sunny summer day. It was a great day for the three hour drive, not many clouds in the sky with very little traffic. We were on I-80 listening to a tape of Give em enough rope, about eighty miles from Akron when a maroon Lincoln Town Car passed us. I was not paying attention when Hale said "look at that car the guy sitting in the middle seat in the back."

I looked and saw the guy sitting in the middle had a mohawk hair cut. I responded, "They are probably going to the show too."
Hale looked at me and said, "Of course they are going to show, that is fucking Joe Strummer in the back!"
"Are you sure?"
"Yea, why do you think he is sitting in the middle?"
"We are in rural Ohio some of these country folks might not appreciate The Clash."

At this point they began to speed up. I told Hale to catch them; they were driving about 90 mph. I found a piece of paper and a marker and wrote "The Clash" on the paper. We were in the left lane and pulled up next to them. Paul Simonon was in the front passenger seat, Joe Strummer was in the back but I don't know who the other three people were.

As we pulled up next to them they were driving way over the speed limit, Hale was honking the horn and I rolled down my window and leaned out with the paper with the Clash written on it.

I began yelling "The Clash, the only band that matters!" Paul Simonen was laughing and pointing at us and then waved. As they speeded up we pulled up behind them and were still trying to get their attention. Joe Strummer turned around and waved to us. I had no film for my camera, luckily Hale had his and we took a picture of the car. We followed them as far as we could, however we were low on gas and had to stop. They continued on to Akron.

The show in Akron was great. I took a lot of pictures.

Kent State

On October 17th I saw the Clash for the third time, this time at the Kent State Memorial Gym. I took my camera but for this show I did not take it in, I left it in the trunk of the car. I wanted to get closer and not worry about taking pictures.

I went to the show with David Walland and a friend of his. David kept saying we are going back stage after the show. I never believed him. I said, "How?" He said, After the show we are just going to hang out by the backstage entrance and they will let us in."

After the show ended we did just as David said, we went backstage. There were only a handful of people. At the door was a big black bouncer. He looked at us and said, "What are you here for?" David spoke up and said, "We are here to hang out with the Clash." The bouncer said, "Wait here" and walked inside for a few minutes. He came out and said, "Alright you can go back.

Holy Shit! I couldn't believe it was that easy! David just smiled and said "I told you. We walked in. All the members of the band were there. The room was not big and not many people. At this point I realized I left my camera in the car. I went back to the bouncer and told him of my problem. He told me to hurry and get it. I ran as fast as I could the whole time thinking I didn't have much time and I didn't want to waste it.

The temperature was in the low forties and when I got back I saw Joe Strummer sitting quietly by himself at a folding table that had a bouquet of fresh flowers on it. He was wearing dark sunglasses and a black shirt with a button on the label. I went over and asked to photograph him. He smiled and nodded. I raised my camera to take a picture. At that point a panic look ran across my face. Coming from the cold temperature to the warm caused the camera lens to fog up. Joe looked at me and said, "What's the matter mate?" I told him about the situation and he said, "sit down, give it a minute." Un-fucking believable! I am sitting next to Joe Strummer about to engage in one of the most memorable conversations in my life.

It began with me telling him how much I loved the Clash music. I told him "you have changed the direction of music around the world. I went on to say how the Clash stands for social and political reform and delivers the message with passion and idealism like no other band. He thanked me and asked if I liked the show. I told him it was intense, "It was the third time I had seen the band on this tour and each time you played in a way that blended power and excitement with garage, thrash, funk, rap, and rhythm & blues with reggae. All types of musical styles in one." I went on to tell him that they played one of my favorite songs at this show, "Spanish Bombs." I said Joe "you are the Ernst Hemmingway of punk music. Spanish Bombs is a three minute version of his book "For Whom the Bell Tolls." Think about it, Something about England, The Call Up, Rebel Waltz and Tommy Gun are written like a Hemmingway short novel. He looked at me with a smile and said "let's hope I don't end up like him!"

I asked why they survived while other bands like the Sex Pistols or the Damned didn't. He said. "We have used negative situations and tried to stirrup the people listening. The Clash has a clear relevant political message. Basically, redirect your frustration and anger and try to change the status quo. Those other bands were confused, mixing various political ideologies and some just concerned about the money." I looked at him and said "you meanÖlooking for a real good space under the lighting." He just smirked. I wasn't sure if it was because he thought it was funny or he believed I understood his point.

I then asked him what he listens to. He responded "I like English Beat, Bo Diddley, MC5, reggae and funk music. He then asked me what I listened to. I talked about all my favorite bands and the great concerts I have seen. He listened very politely and didn't say much. He appeared drained from the show.

For the next few minutes we made small talk about America, Ohio and where the next concert was and the tour in general. When I got up to leave I shook his hand again and thanked him for his time. I told him that as long as I live I will always remember this night. He nodded and said, "Come back stage next time we come to this area or at another gig." As I walked away he began talking to another person. I turned and raised my camera to take one more picture of him and said "Joe, the Clash the only band that matters." He looked up and stuck his tongue out and made a face. At that moment I snapped the picture. I waved and smiled he just nodded.

I walked over to Paul Simonon and Terry Chimes and introduced myself. I said to Paul, "I have seen the Clash three times on this tour and I don't know if you would remember but when we were driving from Detroit to Akron back in August we drove by you on the highway." Paul smiled. He looked at me with an expression that said you got to be kidding. I continued. "You were in the front seat in a Lincoln town car and Joe was in the backseat in the middle. I was hanging out of the window yelling." He became very animated and said he remembered. "We did not know what was going on we were driving along and all of a sudden this car pulls up and you are yelling at us out the window. We realized that you knew who we were and were Clash Fans." He went on to say it was an eventful road trip to Akron because they were pulled over by the police for speeding.

I also asked him it was true that they released Sandinista as a triple album to say Fuck you to Bruce Springsteen's double album "The River?" Paul said, "We did what we thought was right. If they didn't like it they could piss-off." At that point two girls asked him to have there picture taken with him. I also took a picture and walked over to Mick Jones.

Mick Jones was very entertaining. He was over by the food having something to eat. I went up and introduced myself to him. I said, "Great show." He said, "Thanks," and asked if I was hungry. There were trays of deli food. I thanked him but declined. He acted comical. I asked to take a photo he agreed and smiled. I took the photo and said "let me take one more." He then made a face where one eye was half closed.

I asked Mick "can you accomplish anything through rock & roll with a political theme?" He said "We try to be realistic; there is a difference between optimism and realism. Who knows, maybe it won't change anything, but I still believe in it and still believe its something worth the effort."

It was about that time when the bouncer began to herd everyone out of the room. I said good bye to Mick and headed for the door. As I got to the door I turned and looked around one more time. I new this would be something that may never happen again. Chris

25 Photos by Christopher M. Downey of the gig

Chris Downey & Hale Driggs (above), both taken by Chris Downey

Newspaper reviews

The August 26th issue of Scene [see link] (a free magazine which started in the Cleveland area in the late 60s is still found at clubs and record stores, etc.) included a very positive review of the gig and some perceptive comments. The writer Marc Holan notes the band made more enemies than friends throughout their career and the “sound left much to be desired, the effect was one of purposeful distortion”

Kurtis Blow was again support act (although he does not guest on Magnificent Seven unlike his earlier appearances with the band). The review say Kurtis’ “ghetto rap” 20 minute set “went over most of the people’s heads. The disc jockey who spun the records and made the music behind him was great” 

A further very positive review by Jane Scott [newspaper review link]; “You sensed it was going to be a pretty special night. It was…It’s almost impossible not to be swept away by the sheer power of The Clash, its spirit as well as its 80 mile an hour sound. The audience (it sold out in 11 hours) didn’t even try. It was on its feet the entire time… No one was surprised to know The Clash were arrested for doing 86 miles an hour on the way to Akron”

They had the projection screen backdrop

"I remember the Akron show. I live just about two miles from where they played, at the Akron Civic Theater, which is a beautiful old theater with a false sky ceiling and an amphitheater layout.

I thought it was cool that I could walk to a show instead of the usual drive to Cleveland. The show was good. I was about 60 feet back.

They had the projection screen backdrop. I would have preferred more first two album stuff. Later I attended the Kent State show and they played a slightly different set." "I missed Garageland, and maybe one other as the tape ran out."

ultimately one of the best shows I've ever seen

First off...a big cheers for uploading this--I was at this show!

I've read the criticism of it being an off night but the recording doesn't really pick up the audience's energy.

It was a great show--ultimately one of the best I've ever seen. And, I had just returned from 3 years of living in LA and seeing a lot of up and coming bands in clubs. (As an aside I was a young punk and blew off the opportunity to see the Clash at the Santa Monica civic and Hollywood Palladium on the first 2 US tours. Was too "cool" to see bands in "big" venues! Aye...) Now if I can just find a boot of Strummer fronting the Pogues in Vancouver BC...

A mad rush of folks down out of the balcony

GPAnderson : Saw the Clash at the beautiful Akron Civic Theatre in Akron, Ohio!  My only chance to ever meet (Well, shout "aaarrrgggbblllluurrggbllblblb... PAUL!!  TERRY!!!  MICK!!!  JOE!!!") the band as they shuffled in one at a time from the alley to the backstage door.  Highlights for me....

At the opening of the show with London Calling watching EVERYONE in the theater, including a mad rush of folks down out of the balcony, rush the stage and Mick going off on his little guitar riff in Know Your Rights and Ned and his Firebird that he had been rebuilding for eons and it was the first night on the road for it, breaking down upon our return and if I'm not mistaken, never to run again. GPAnderson

Strummer stopping the show during the Clash’s set to engage with some skate punks

Ed : I was at that show. My memory of Blow is that he didn’t do any of his standard numbers, but extemporaneously rapped about the event. I clearly recall the opening line, “Well, The Clash had me down to Akron today…” and off he went.

I also remember Strummer stopping the show during the Clash’s set to engage with some skate punks who were somehow allowed to enter the theater with their boards. Strummer quipped something to the effect that, “In Birmingham they’re wearin’ one on each foot!” Ed Desautels 2015

Photos

25 Photos by Christopher M. Downey of the gig and driving home

Photos

Setlist

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21	Intro... London Calling The Leader Radio Clash Clash City Rockers Know Your Rights Guns of Brixton Train In Vain Call Up Rock the Casbah Police & Thieves Police on My Back Magnificent 7 Wrong Em Boyo Career Opportunties Somebody Got Murdered Brand New Cadilac I Fought the Law Armagideon Time Should I Stay or Should I Go Clampdown Straight to Hell Janie Jones Garageland