Dr Pepper Music Festival
Support Gregory Isaacs & Kurtis Blow
Updated 26 Dec 2016 - full update
updated June 2024 added several reviews, tickets and photos
Audio 1
good sound, Sound 4, 81min, 1st gen?, tracks 21
Audio 2
good sound, sound 4, 79 mins, master?, tracks 21
Audio to follow
Sound quality
Two different audience recordings are in circulation:
The most commonly circulated one was posted on Dime in 2006 but had circulated previously too. The Dime poster said his tape was a first generation source and it has a level of stereo separation (not just stereo miked) not present on the earlier circulating tape (although this maybe a result of audio software processing and not present on the original source). Sound quality apart from the first few songs is very good; clearly recorded with some quality equipment for the time. Vocals though suffer from distance to stage and there is a lack of crispness being an analogue copy off the master. An upgrade to the master would make this a very good recording indeed.
The second recording is not widely circulating. It benefits from master tape crispness, clearer vocals but a thinner sound. Significantly a number of songs have numerous digital dropouts making a number of the songs unlistenable.
Both recordings stop after Pressure Drop suggesting this was unusually the final song.
Bootleg tape cover
When The Clash played New York City it was always an event
When The Clash played New York City it was always an event. Whilst the 17 shows at Bonds maybe more legendary, the three sold out open air concerts at Pier 84 attracted 24,000 people and extensive TV and press coverage. The Bonds residency confirmed their ascendency but the Pier 84 shows confirmed they had made it in NYC and across much of the USA. The decision announced at the time of the Pier 84 shows to accept the Who’s offer to support them on their stadium tour was a conscious decision to reach still further into mainstream America (despite the obvious pitfalls and contradictions).
Paul and Joe were interviewed on CBS News before the first night at Pier 84 (Youtube). Joe said it had been a long tour and they were very tired. Another TV clip includes a tantalisingly short clip of the band on stage at Pier 84 during Clampdown and the wildly enthusiastic audience. The voiceover says that fans were there 5 hours before the band came on stage for the sold out shows. Fans are interviewed and Mick in his inimitable way explains that the band discourage fighting.
Two quality audience recordings exist capturing an excellent and memorable gig. Both recordings end after Pressure Drop suggesting this was the last song; did the band run over time and have to end the gig prematurely before their usual final song, Garageland etc?
Press commentary
Clint Roswell in a press preview of their Pier 84 headlined his piece as ‘The Clash: Into it now for the cash’. The justification was an interview with Mick and a quote taken out of context;“ This is the first tour we have ever made money on and I’m glad, because it’s about time we started thinking about ourselves” The piece does though include another Mick quote; ”We’re playing our music a little faster, a little harder like in the old days because that’s what suits us with Terry on drum. But we started as an everyman’s band and anybody who thinks we sold out, that’s their problem”
Another local press piece by Martin Porter of the first gig focussed on the objects being thrown at Joe from the audience and that his head made for an attractive target because of his Rockin’ Mohawk haircut! Joe having had enough tries a new and successful approach “..if any of you people have got any rocks or bottles you want to throw at my head you might as well do it now and get it over with! Anybody got ant missiles they’d like to throw at my head, let’s have it now, come on, you prefer it when I’m not looking right. The article though says that Joe then ‘bent forward over the stage and aimed his stripe of bush (can) at the crowd. A gutsy and potentially hazardous maneuverer but apparently one that paid off. The rowdy crowd was stunned by the challenge. Not a single bottle was tossed Strummer’s way..’
Stephen Holden for the New York Times (published 5th September) reviewed the first night positively saying it ‘was everything that last year's debacle at the Bond International Casino wasn't. The sound system made the band's leftist political slogans relatively clear, and the open-air setting gave both them and the audience room to breathe.’ Also in contrast to Grandmaster Flash and the Furious Five being booed off the stage at Bonds, Kurtis Blow was ‘treated politely’ He concluded his piece; Terry Chimes, the group's original drummer, who has replaced Mr. Headon, more than held his own, keeping the rhythms tight and militant while avoiding tedious rat-a-tat-tat, and Joe Strummer's raspy good-hearted singing reminded a listener of the Bob Dylan of the 1960's. Despite all its problems, the band seems here to stay.’
A piece in the Daily News (also published 5th September) includes a negative comparison with Elvis Costello and a review of the 31st August gig. Terry and Paul are criticised for their musicianship; the band it said switching to older easier to play songs following Topper’s departure and Paul out of tempo with Terry.
The Clash: Into it now for the cash
82 08 31 Daily News Tue (PIer prev)
/Daily-News-Tue-Aug-31-1982-550.jpg)
Support
Reflecting The Clash’s musical interests the support acts were the Jamaican “Cool Ruler” Gregory Isaacs and New York pioneer rapper and DJ, Kurtis Blow, who had provided support earlier in the tour too.
The two acts though had different experiences Gregory Isaacs was late and got booed; he did not show for the second night.
Kurtis though was savvy and knew how to work the audience in his favour. An excerpt from the book Love, Peace, and Soul: Behind the Scenes of America’s Favorite Dance Show Soul Train by Ericka Blount Danois below -
In 1982, Paige booked Kurtis to open for the British punk rock group the Clash at Pier 84, a floating stage next to the Intrepid, in New York City. Rock and rap were still distant cousins (Kurtis would later feature Bob Dylan as a guest on his single “Street Rock”), related by a rebellious spirit. But many rock purists didn’t understand or accept hip-hop.
The Clash was an intimidating group and often drew a crowd that was difficult to open for—many newbies were barraged with bottles and beer cans. Gregory Isaacs was infamously booed. Many top-rated artists didn’t make it opening for them unscathed by empty bottles.
Kurtis had a different idea. As an emcee he had grown used to pumping up a crowd, prepping them with anticipation. “Are you ready to hear the Clash?” he asked the impatient crowd. “AAAAHHHHHHHHH!!!!!” they screamed. “Well, ladies and gentleman—my name is Kurtis Blow, and the Clash asked me to come out and sing one song for you. Can I sing one song?”
“RAHHHHHHH!!!!” they roared as he launched smoothly into “The Breaks.” After “The Breaks” he asked: “Are you ready for the Clash? “If you’re ready, say HOOOOO!!” “HOOOOOO!” they answered. “Everybody scream!” “AHHHHHHHHHHH!!!!!!” He had them in the palm of his hand. Or so he thought. He heard a surge of booing coming from the ground.
“Okay, one more song and then the Clash will come out,” Kurtis played this game with them for another thirty-five minutes. He did this for three nights and had everybody up in the stands dancing and didn’t get beer bottles thrown at him. The Clash ended up taking him on tour doing thirty shows around America, introducing hip-hop to a hardcore rock ’n’ roll crowd.
Terrific live photos of the gig were posted on Flickr by
Tickets
CLASH at Pier 84...Aug 31 1982. With Gregory Isaacs & Kurtis Blow
This would be the second time seeing the band without Topper, and although he had some time to work out the kinks since I saw them in Asbury Park...again he held his own, and the band was definitely on fire...but Topper was missed.
Pier 84, Manhatten, New York
The Dr. Pepper Central Park Music Festival ran at the Wollman Rink from 1977 to 1980. In 1981, the Dr. Pepper concerts moved to Pier 84 on the Hudson River until 1988. The whole site spectacularly dramatized by the brooding presence of the aircraft carrier ''Intrepid,'' This was a great time in NYC to see summer shows with promoter Delsener putting on the likes of Led Zeppelin, The Who, Bob Marley, and many others. NY Times June 25 1982 stated ‘The Dr Pepper Music Festival's present location, Pier 84 at 12th Avenue and 45th Street, is not exactly Central Park, the festival's former home, but it is on the water. And the feature that always made the festival one of the city's most popular pop-music events - low ticket prices - has been retained.
The days when a music fan could wander into the park and hear the Young Rascals and the Jimi Hendrix Experience for $2 are gone forever, but this summer it will be possible to hear Bonnie Raitt, Miles Davis, King Crimson and Rickie Lee Jones, among others, for $7. With top ticket prices for most pop concerts passing the $15 mark and heading for $20, the Dr Pepper Music Festival is still a bargain. The August shows also begin at 8 P.M. Tickets are on sale at Ticketron outlets’.
“Hello New Yorkers, we’re The Clash and we come from England”
With a “Hello New Yorkers, we’re The Clash and we come from England” the band launch into White Riot! The sound on the main source is poorer on the opening songs but the recordings from both sources lack punch suggesting some PA sound issues early on. Without a pause it’s into London Calling, the sound improving (wider, some stereo separation but vocals more distant on main source, alternate source master tape crispness, less distant vocals but thinner sound) and the band clearly fired up. They stoke things further with a blast through I’m So Bored With The USA; Mick’s lead clear and Paul can be heard shouting out “U-S-A” on the chorus. Again with no pause except for “The following is a Public Service Announcement with guitar”; Know Your Rights - played fast; a powerful and very enjoyable start to the gig.
The first pause for breath before it’s into Spanish Bombs - Mick’s lead playing effective and clear but Joe’s vocals sound forced; the reason for which then becomes clear at the end of the song after a long pause. “Yeah by the way if any of you people have got any rocks or bottles you want to throw at my head you might as well do it now and get it over with! Anybody got any missiles they’d like to throw at my head, let’s have it now! Come on! You prefer it when I’m not looking right! Yeah those at the back there, just take out your subway season tickets and go for a ride round the Circle Line! When we come back we’ll be doing the Guns of Brixton” A strong performance with the “dubwise” instrumental section inventive; the band, particularly Mick keeping the song fresh live with improvisations and effects. The tape on the main source speeds up with a dropout but there’s very good detail and some stereo instrumentation.
The usual vocal duties on Police On My Back are reversed with Joe doing the “I’m running Monday, Tuesday” and Mick the “What have I done”, before then continuing as normal. “OK Michael, like to Rock the Casbah if we can” Fine performances, tight and focused. “Career Opportunity” repeats Joe urgently before Mick shouts out “1-2-3-4” and band blast through a fine Career Opportunities.
“OK a minute. I want you to make some kind of noise those of you who are participating and people who’ve just come here to observe keep quiet! I just want to see if we are reaching anyone” Shouts aplenty! “OK assuming there are a large amount of journalists here. Are you the correspondent from the New York Post? I dedicate this song to Thornby(?) This Is Radio Clash” Excellent performance opens with a great Strummer cackle, Joe now really into it, Mick lays down some jagged funk leads and band stretch out on instrumental section. Mick’s screechy birds effects new to his expanding arsenal! Sounds particularly great on the alternate master. Train In Vain has some great improvised extended lead guitar on the final coda.
An edit on the main source loses a few seconds of the “Don’t you ever stop” spoken Joe intro (captured on the alt. source which in turn cuts out about 2 minutes in) to a memorable Magnificent Seven. With Joe is in great voice, the instrumentation very clear and effective Joe mid song intros “Mr Kurtis Blow up to the microphone”. The canny Mr Blow after a short rap intelligently says “Oh yeah, lookahere I want you all to show these guys from London that America loves them [screams] If you love The Clash everybody say Hi” He repeats this, working the audience MC style. Kurtis leaves the stage and Mick plays some great lead guitar at the bridge at which point Joe does a rap of his own - though mostly unclear. Mick’s effects are to the fore on the finale. A highlight.
“Mr Terry Chimes” orders Joe and Terry and Mick begin the teased out intro to a fine Janie Jones (vocals clearer/less distant on alt source master). Without a pause Mick’s effects signal the start of The Call Up. Energy and passion; sounds great. Mick improvises his fills. The final “Hup 2-3-4’s I love the Marine Corps” segues into an incendiary Brand New Cadillac. No pause again before Somebody Got Murdered with yet another variation on Mick’s crescendo intro contrasting with Joe’s urgent rhythm guitar. Another very enjoyable performance (sounds great particularly on the alt. source).
Mick screams “1-2, 1-2-3” and the band launch into Clampdown featuring yet another Mick variation on the opening lead guitar. The band maximising the musical drama in the song and Joe adlibs aplenty over finale taking in Saigon, freedom fighters etc,etc. His words often unclear but it sounds great as the band rip it up before segueing into I Fought The Law; ending a memorable main set with another tight, intense performance.
The encores begin after a long intro with Armagideon Time; Mick’s effects heavy discordant guitar to the fore. Terry’s percussion is very clear and Joe’s in good voice “a lot of people disappearing every day, lots of effects; the band stretching out varying the set standard songs keeping them fresh. To huge cheers Mick plays the intro to Should I Stay Or Should I Go. An aural assault; Mick and Joe belting out the vocals.
The last song, Pressure Drop starts as normal then has an improvised instrumental section before Joe and Mick come in on vocals. Mick changes his solo effectively, sounds great on both sources. Whether through design or lack of time it’s the last song played on both recordings.
NEW YORK TIMES, ROCK-RAP: THE CLASH
By Stephen Holden - Sept. 5, 1982
The Clash's opening-night concert of a three-night stand at Pier 84 last Tuesday was everything that last year's debacle at the Bond International Casino wasn't. The sound system made the band's leftist poltical slogans relatively clear, and the open-air setting gave both them and the audience room to breathe.
Last year the Clash's handpicked opening act, the New York rap group Grand Master Flash and the Furious Five, was booed off the stage on opening night. This year, Kurtis Blow, a New York rap star who served as master of ceremonies, was treated politely. There were virtually no signs that the Clash had been having its usual share of troubles. Recently the drummer, Topper Headon, left after a dispute about the band's political direction. And their latest album, ''Combat Rock,'' has been roundly trounced by a number of East Coast critics who had originally championed the band.
But for all the Clash's troubles, Tuesday's concert seemed downright jolly. One was impressed by the zany humor of its current dance-rock hit, ''Rock the Casbah,'' which pokes fun at politics in the Middle East. And its hard-rock rap song, ''The Magnificent Seven,'' holds up as as landmark rock-funk hybrid. Terry Chimes, the group's original drummer, who has replaced Mr. Headon, more than held his own, keeping the rhythms tight and militant while avoiding tedious rat-a-tat-tat, and Joe Strummer's raspy good-hearted singing reminded a listener of the Bob Dylan of the 1960's. Despite all its problems, the band seems here to stay. Stephen Holden
Unicorn Times, The Clash Pier 84
Costello rides high, Clash doesn't
82 09 05 Daily News Sun (Pier all bad)
/Daily%20News%20Sun%20Sep%205%201982.jpg)
Clash: still scruffy, but now rock heroes
82 09 05 The Evening Sun (Sunday) and the 82 08 05 The Baltimore Sun
/The-Evening-Sun-Sun-Sep-5-1982-550.jpg)
Clash tired, dated
82 09 07 Daily News Tue (Clint Pier all bad)
/Daily-News-Tue-Sep-7-1982-WEB.jpg)
The Clash throws a party
82 09 02 Newsday Nassau Edition Thu
/Newsday-Nassau-Edition-Thu-Sep-2-1982-WEB-550.jpg)
Into it now for the cash
Preview of the Pier 84 gigs
Clint Roswell
Strummin' his stuff
2/3 Sep - New York News
Martin Porter gets into Strummer's new mohawk haircut
Pier 84 Costello v The Clash
5 Sep -
New York Daily News Upbeat
Steaming hot night
Keith: It was the end of summer 1982 and I scored some general admission tickets for the most anticipated show of the summer: The Clash at Pier 84, the opening night of a three night stand.
Pier 84 was a decrepit old pier on the Hudson River right beside the mighty Intrepid aircraft carrier that had just been docked and opened as a museum. A perfect setting considering The Clash were promoting their album Combat Rock.
I'm not sure who came with me, but we arrived early and took our position against the wooden barrier between the stage and the crowd. In a move way ahead of their time the Clash selected rapper Curtis Blow as the opening act. I loved Curtis Blow! ("These are the brakes, Brake it up, brake it up, brake down!"). I knew the song because this black dude at my summer job used to play it over and over on his giant boombox. Needless to say, I knew every word to the rap and was probably the only person there who did.
The Clash truly "Rocked the Casbah" singing all their punk anthems and even bringing Curtis back out to rap over some of their songs.
It was steaming hot night and band sweated out a power set including: “The Magnificent Seven”, “London Calling”, “Police On My Back”, “The Guns of Brixton” and “Should I stay or should I Go”. The highlight and lowlight was the encore when the crowd bum-rushed the front knocking over the wooden barrier and pushing me under the stage and breaking my zoom lens in half. - It worth every minute!! Here are my shots…’ . Link
Keith Laudanno - Loving The Clash - 30 May 2015
We watched the whole show from the stage.
Karmicg : … August 30th 1982 we had tickets to see Elvis Costello on Pier 84 as part of the Dr. Pepper Music Festival in NYC. My friend knew Elvis' tour manager. He found his friend and came back with Ron Delsner (the promoter) all access passes. The passes had the wrong date (August 31) on them. My friend said don't worry he was assured that they would be honored. I asked if they would be good for the next night. My friend asks "who's playing tomorrow night?" When I told him that the Clash were playing he said to pocket the pass and he went back to get us passes for August 30th.
The following night we showed up without tickets and only the passes. We were granted admission and went backstage before the show. We walked into one of the Clash's trailers and there was Mick Jones and Don Letts. They offered us beers from their cooler and we hung out with them until show time.
There were bleachers set up on the side of the stage. We watched the whole show from the stage. At one point I looked to my left and there was Elvis Costello standing right next to me watching the show. Karmicg
It really stuck with me, their love for their fans.
Fred Armisen aka Ian Rubbish the veteran punk character Fred introduced in 2013 on Saturday Night Live, sits down with Mick and Paul in The Clash: The Last Gang in Town, a fake documentary for Funny or Die in which Rubbish talks about how the Clash influenced him and how he influenced them!
In an interview for Billboard Armisen said
“I first saw The Clash in 1982 at Pier 84 in New York as part of the Dr. Pepper music series, when I was about 14 or 15. They did three nights, and the night we saw them it was packed. It's not like they were an underground thing or something. They were very popular. They could have played Madison Square Garden.
I remember waiting outside the theater gates after the show, and it was raining. And then Kosmo Vinyl out and let everybody in. And it wasn't like we knew anybody. We weren't dropping any names to get inside. Who would we know? We were from Long Island. Kosmo just opened the doors and said, "Come on in." I got to talk to Paul and Joe Strummer. The way Joe acted around me, I still remember it. I still think about it every time I talk to strangers. He was very considerate. He didn't seem distracted or in a rush to talk to somebody else. He stood and listened intently to this kid, to this 14-year-old kid who had nothing to say. Paul Simonon was the same way.
It really stuck with me, their love for their fans. And then a couple weeks later I got to see a dress rehearsal of ‘Saturday Night Live,’ where Ron Howard was hosting, and I totally got to see The Clash play again. It was unreal.”
By Stephen Holden, New York Times
Published: September 5, 1982
The Clash's opening-night concert of a three-night stand at Pier 84 last Tuesday was everything that last year's debacle at the Bonds International Casino. The sound system made the band's leftist political slogans relatively clear and open-air setting gave both them and the audience room to breathe. Last year the Clash's hand-picked opening act, the New York rap group Grand Master Flash and the Furious Five, was booed off the stage on opening night. This year, Kurtis Blow, a New York rap star who served as master of ceremonies, was treated politely. There were virtually no signs that the Clash had been having its usual share of troubles. Recently the drummer, Topper Headon, left after a dispute about the band's political direction. And their latest album, Combat Rock , has been roundly trounced by a number of East Coast critics who had originally championed the Clash.
But for all the Clash's troubles, Tuesday's concert seemed downright jolly. One was impressed by the zany humor of its dance-rock hit, "Rock the Casbah," which pokes fun at politics in the Middle East. And its hard-rock rap song, "The Magnificent Seven," holds up as a landmark rock-funk hybrid. Terry Chimes, the group's original drummer, who has replaced Mr. Headon, more than held hid own, keeping the rhythms tight and militant while avoiding tedious rat-a-tat-tat, and Joe Strummer's raspy good-hearted singing reminded a listener of the Bob Dylan of the 1980's.
Despite all its problems, the band seems here to stay.
Did you go? Comments, info welcome...
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Photos
Ginsberg photos with the Clash
Ebet Roberts 9 excellent photos from New York, musicpictures.com
Extensive archive of articles, magazines and other from the Know Your Rights US Tour, August to October 1982
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Setist
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White Riot |
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There are several sights that provide setlists but most mirror www.blackmarketclash.co.uk. They are worth checking.
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ARTICLES, POSTERS, CLIPPINGS ... A collection of A collection of articles, interviews, memorabilia from the tour and the period around the tour, August to New Year 1982.
Extensive archive of articles, magazines and other from the Know Your Rights US Tour, August to October 1982
VIDEO AND AUDIO Video and audio footage from the tour including radio interviews.
VIDEO – 1 Sept / Joe, Paul Simonon int, PIer 84 on CBS New York News
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