Supported by Kurtis Blow
updated 7 July 2008 - added punters view (Guy)
updated 28 Dec 2008 - added punters comments (skank)
updated 13 april 2011 - added punters comments (Andrew)
updated 13 Feb 2012 - added Windsor Star
updated 29 Nov 2015 - full review
updated 9 Aug 2016 - full review updated
Audio 1
clear but distant - Sound 4 - 102min - 1st gen - tracks 24
Audio to follow
Audio 2
clear but distant - Sound 4 - 96min - 1st gen Jems - tracks 24
Audio to follow
The only circulating recording is an audience source but there are two alternative first generation copies in circulation. Both are inferior to those earlier in the tour but are worth seeking out for documenting a memorable night in Detroit’s Grand Circus Theater. Both sources suffer from distance to the stage, lack of range (largely top end) and a loss in clarity from not being the master tape source. That said they are first gen sources and have a relatively clear sound and capture much of the charged atmosphere of the gig.
Vocals are most affected with many of Joe’s asides and adlibs unclear and there is significant distortion at the sound peaks. It’s mainly left channel and lesser versions circulate. On the low tempo numbers instrumentation is reasonably clear including a largely indistinct bass.
The longest source which includes more of the audience shouts for more between encores has a touch more clarity than the alternative source posted on Dime:
Lineage: ANA(1)>WAV [96kHz/24bit]>WAV [44.1kHz/16bit]>FLAC [Level 8]
Transfer: Nakamichi CR-7A>PreSonus FireStudio Project>Adobe Audition 3.0>Cdwave editor>FLAC frontend 1.7.1
Taping Gear: Sony ECM-939>Sony WM-D6 Taped By: Friend of JEMS
Transferred By: Mike Ziegler 1st gen cassette courtesy of JEMS archives
The choice though is personal preference the JEMS source has more accentuated bass (sound forge etc presumably). The JEMS source definitely has the best sound following the edit on Straight To Hell through to Garageland.
After a day’s break The Clash hit Detroit on the 16th delivering another fired up performance to a hugely enthusiastic audience who invaded the stage during Clampdown. Some accounts say this gig did not compare with earlier tour Detroit gigs however the views expressed below suggest otherwise:
Andy: I started the stage rush at the concert in Detroit at the Grand Circus Theater 1982. A group of us went to the show.
I scrambled to the front two rows and saw the best show to date. I never saw since a band that produced so much energy on stage to where ever member of the band was dripping wet after the first song.
The sound was great and the energy of the entire place was like gasoline on fire. I turned to the guy in back of me and said toss me up. He tossed me from the second row. When I was on stage I turned to the crowd.
What an awesome sight. Thousands of people bouncing to the music. I turned to strummer and I was with inches as he thrashed the guitar. I then started to pull some people on stage.
I grabbed hands and hauled them up. About 4 people then another person lands on the stage then another then it was packed. The Clash were still playing and the stage was full. It took a while to get everyone off then they came back and the place erupted again.
What an experience that has lasted the time.
One of my friends got a guitar pick, another got joe strummers hat with the star, Hundreds of shows after that one and nothing compares. Andy Washington <
>
Grand Circus Theater Detroit Michigan Aug 16, 1982.
My friends and i were at that show. i actually was on stage for the song clampdown. i was trying to sing with joe so i'm thinking that i should be heard on the recording. my friend was near mick during the chaotic scene on stage. anon
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 Ramones, Blonde, the Jam, Squeeze, David Johansen, and DEVO to name a few, however, these three Clash shows were the most intense and memorable concerts I ever saw.
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). Photos (of fans) hanging outside the Grand Theatre taken by Chris Downey
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 haircut. 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 Simonon 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.
Chris Downey
The great photos Chris took below are credited to the three shows he attended ; Akron, Detroit and Kent State presumably as he is not sure which photos are from which show. On 2 of the photos there looks to be the start of a stage invasion so possibly of this gig.
Photos (of fans) hanging outsidethe Grand Theatre
thanks to Chris Downey
Guy: The photo of the Grand Circus Theater marquee (top) was taken by my friend Mark Brendel. I'm pictured standing slightly right of center in a white T shirt with dark hair behind a fellow in a red vest. To my right is Mark's brother Kevin Brendel. Mark also sent you the newspaper review and the ticket from the show.
Grand Circus Theater was located in the Grand Circus Park in downtown Detroit. It is no longer open.
The short line that you've posted by anon. about being onstage during the song Clampdown was written by me.
Thanks so much for sharing the recording of the show. During the song Clampdown you can't actually hear me sing (Joe must have had an omnidirectional mic) even though I was standing to his right with my left arm around his shoulders. However, you can hear Joe telling the bouncers & roadies to back off and leave me alone as I jumped onstage. I still have a T-shirt from the show & I also still have Joe's sheriff badge that I grabbed off his shirt just before I jumped back into the audience at the end of the song. There were 2 other guys, besides me, huddled around Joe's mic singing the song with him. We were all taking turns strumming Joe's guitar while he played the chords. This story is so crazy that most people, that I tell it to, think I must have made it up, but it's all true! I sure wish we could find a video of the show!!!
Mark, Kevin & myself also saw Joe with the Mescaleroes at the St Andrews Hall in Detroit, just before he passed. I got a picture with Joe and he signed a concert poster and some cd's for me. What a great guy!!!
Guy Caylor Detroit Michigan
The Ontario Windsor Star ran a revue of the gig headed “Clash: A sandblaster for rock and roll’s soul”- (the definition of the scan provide though is not clear enough to read the text)
Photographer Robert Alford showed the Clash around Detroit ending up at the Motown Museum, which, at that time, was only open one day a week. Inspired by the sounds of Motown, the band took a private tour of the facility. This though probably took place later when they supported The Who at Detroit’s Pontiac Silverdome.
Unfortunately the only circulating recording of the gig is an audience source which suffers from distance and is poorer than those from earlier in the tour. The energy of both the band and the audience though comes through and though certainly not an essential recording is worth seeking out.
The recording begins at the start of the intro music capturing a very enthusiastic audience in keeping with the response on this US tour (in contrast to some dates on the Uk tour). London Calling is urgent and maybe runs a little fast on the tape, Mick’s solo emerges from the distortion. Joe talks to the audience before The Leader but his words are unclear. Distance and distortion defeat the taper for most of the recording “This is Radio Claaaaaaaash” screams Joe, the energy of the performance coming through. Huge cheers follow each song
Clash City Rockers now back in the set; shame about the sound quality as little doubt about quality of the performance. Know Your Rights is followed by Guns of Brixton by which the sound improves a little; less distortion on the less guitar heavy songs reveal more detail and the quality of Mick’s great guitar fills. Crowd pleaser Train In Vain is followed by The Call Up; a highlight. The “Hup 2-3-4’s band fade to hush then Joe says “I’d like to introduce Mr. Terry Chimes.. Rock the Casbah”; played fast and tight with Mick’s great lead intro clear. Less distortion still distant though.
Joe wails and then the band crash into Police & Thieves, Mick’s solo quite clear as is the drum and bass breakdown dub section then Joe wails gently and the band build it back up with some adlibbing but largely unclear. ”Police is on his back” repeats Joe before band slam into (Mick’s) Police On My Back. There’s an edit at the end of the song and then Joe says referring to Detroit ”little song from General Motors coming on in a short while in the meantime we’ll retread this rubber tyre and band kick into an eight minute Magnificent Seven. Mid song again “now we have for entertainment a little piece of Mr Kurtis Bloooooooow” Kurtis raps a little longer than the night before (largely inaudible though) “If you love The Clash sing Hi” he repeats and the audience shout back (no boos audible at all). The band then play on instrumentally only before Joe comes in again adlibbing through the “guitar city” bridge about cars, economic supply etc; shame sound quality is not better. A highlight.
“This is a song we stole from New Orleans entitled it is the Wrong Em Boyo”. Career Opportunities next again played with real energy and is followed by a strong Somebody Got Murdered. There is then an edit into I Fought The Law which ends the main set.
The recording continues as the audience clap for more until Terry’s intro begins to Armagideon Time; Mick’s fills and effects clear but Terry ‘s drumming is largely monotonous and uninspired. Joe though is in strong and committed voice ending the song with a in a screamed “Forward. Charge!” Joe then does the spoken studio intro and the band slam into Clampdown. The audience’s enthusiasm builds until it erupts into stage invasion, as someone shouts into mic (see Andy Washington’s account earlier). The band continue to whip it up, Joe adlibs then the song stops prematurely presumably because too many people on stage to continue. The recording continues through the whistling and screaming and then a voice (Kurtis Blow MC for these gigs?) announces “If you get off the stage The Clash will do another number “to cheers.
Eventually Terry beats out, with audience clapping along, the intro to Straight to Hell. Near the song’s end there is an edit and the sound deteriorates significantly on the best source but not on the alternate 1st generation source. A combination of both 1st gen sources gives the best sounding and complete recording. Janie Jones is followed by an impressive Pressure Drop (ever present now) and an impassioned Garageland is the final song (back again as the usual final song).The alt source ends before Joe’s farewell to the audience but his words mostly unclear and the audience still want more.
Did you go? What do you remember?
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grand circus theater detroit michigan aug 12, 1982. my friends and i were at that show. i actually was on stage for the song clampdown. i was trying to sing with joe so i'm thinking that i should be heard on the recording. my friend was near mick during the caotic scene on stage. anon
I attended the Clash concerts in Detroit in September, 1979 and March, 1980 (as well as a forgettable show in 1982). nestor's recollections of the Motor city Roller Rink show was spot on. i've been to many concerts over the years before and after this show, and I still believe that this was the best concert I've ever seen.
The contrast in the two shows (from masonic to MCRR) was an amazing transformation. However, the transformation was not so much in the band, but in the audience's reaction to the band. One commentator was correct, in the masonic Auditorium show it seemed the audience was there mostly to see David Johansen, who had only recently left the New york Dolls, and had a small but dedicated following in Detroit. It's also true that the Clash had equipment problems and became very frustrated, kicking the amps, spitting, etc.
The MCRR show was a complete contrast. the band came on late (after the sound check which one of your readers spoke of). But somehow it was perfect. it was just late enough where the anticipation was growing to a fever pitch, but no so late that the crowd was frustrated. The second they came on the electricity was intense. Perhaps it was the release of London Calling, or just the fact that this was a crowd of hard core fans who came to see The Clash and the Clash only (although the back up bands performed admirably).
I remember that they opened with Clash city Rockers. As your other commentators mentioned, there were no seats in the Roller rink, and I had fought my way all the way towards the front (probably the equivalent of the 10th row or so). After that first number i remember Joe Strummer was filled with sweat. There was no question that the band was preforming with all they had, and the crowd loved them. I've never seen, before or since, this complete connection between a band and it's fans, they just fed off of each other. It was just one of those nights that I will remember for as long as i live.
Thank you, David Epstein -
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.
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 Fredís 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).
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 Giveíem enough rope, about eighty miles from Akron when a maroon Lincoln Town Car passed us. I was not paying attention when Hale said ìlook at that carÖthe guy sitting in the middle seat in the back.î I looked and saw the guy sitting in the middle had a mohawk hair cut. I responded, ìThey are probably going to the show too.î Hale looked at me and said, ìOf course they are going to show, that is fucking Joe Strummer in the back!î ìAre you sure?î ìYea, why do you think he is sitting in the middle?î ìWe are in rural Ohio some of these country folks might not appreciate The Clash.î 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 ìThe Clashî on the paper. We were in the left lane and pulled up next to them. Paul Simonen was in the front passenger seat, Joe Strummer was in the back but I donít 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 ìThe Clash, the only band that matters!î 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.
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, ìHow?î He said, After the show we are just going to hang out by the backstage entrance and they will let us in.î After the show ended we did just as David saidÖwe went backstage. There were only a handful of people. At the door was a big black bouncer. He looked at us and said, ìWhat are you here for?î David spoke up and said, ìWe are here to hang out with the Clash.î The bouncer said, ìWait hereî and walked inside for a few minutes. He came out and said, ìAlright you can go back. Holy Shit! I couldnít believe it was that easy! David just smiled and said ìI 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 didnít have much time and I didnít 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, ìWhatís the matter mate?î I told him about the situation and he said, ìsit down, give it a minute.î 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 ìyou 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, ìIt 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.î I went on to tell him that they played one of my favorite songs at this show, ìSpanish Bombs.î I said Joe ìyou are the Ernst Hemmingway of punk music. Spanish Bombs is a three minute version of his book ìFor Whom the Bell Tolls.î 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 ìletís hope I donít end up like him!î
I asked why they survived while other bands like the Sex Pistols or the Damned didnít. He said. ìWe 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.î I looked at him and said ìyou meanÖlooking for a real good space under the lighting.î He just smirked. I wasnít 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 ìI 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 didnít 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, ìCome back stage next time we come to this area or at another gig.î 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 ìJoe, the Clash the only band that matters.î 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, ìI have seen the Clash three times on this tour and I donít know if you would remember but when we were driving from Detroit to Akron back in August we drove by you on the highway.î Paul smiled. He looked at me with an expression that said you got to be kidding. I continued. ìYou 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.î He became very animated and said he remembered. ìWe 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.î 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 Springsteenís double album ìThe River?î Paul said, ìWe did what we thought was right. If they didnít like it they could piss-off.î 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, ìGreat show.î He said, ìThanks,î 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 ìlet me take one more.î He then made a face where one eye was half closed.
I asked Mick ìcan you accomplish anything through rock & roll with a political theme?î He said ìWe try to be realistic; there is a difference between optimism and realism. Who knows, maybe it wonít change anything, but I still believe in it and still believe its something worth the effort.î
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.
The Grand Circus theatre on Grand Circus Park at Witherell is still alive and restored as part of the Detroit Opera house. The Grand circus was originally named the Capitol Theater during the 2nd world war when it was open 24 hrs a day as a cinema with 45,000 people using it on a would typical week end. It was also used for concerts including those for jazz legends Louis Armstrong and Duke Ellington.
Following a minor restoration in the 1960s, the building became the 3,367-seat Grand Circus Theatre. The theater closed in 1978 after surviving several years exhibiting second-run and soft-core porn films. It reopened again briefly in 1981, but closed after a minor fire 1985 caused damage. It was later fully restored as part of the Opera House in 1996.
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London Calling |
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There are several sights that provide setlists but most mirror www.blackmarketclash.co.uk. They are worth checking.
from Setlist FM (cannot be relied on)
from Songkick (cannot be relied on)
... both have lists of people who say they went
& from the newer Concert Database
Also useful: Ultimate Music datbase, All Music, Clash books at DISCOGS
A collection of articles, interviews, memorabilia from the tour and the period around the tour, August to New Year 1982.
Ebet Roberts
9 excellent photos from New York
musicpictures.com
If you know of any articles or references for this particular gig, anything that is missing, please do let us know.
Detroit News Review
Photos (of fans) hanging outside
the Grand Theatre
taken by Chris Downey
Clash: A sandblaster for rock n roll's soul
Windsor Star, Ontario (over border)
%20Star/Windsor%20Star%201982-08-17%20(review%20of%201982-08-16%20Detroit).JPG)
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The Clash Live At Five interview 1982
Toronto - at the old Exhibition (Grounds) Stadium - 3 minutes
City Limits - before gig
'City Limits' Clash retrospective - Canadian TV from mid eighties. Two minutes of Tommy Gun live at the O'Keefe plus interview [w/ Pennie Smith?] about torn out seating. Also includes 5 Sep 82 car lot interview and April 84 Tour Bus interview.
SNL Straight to Hell after a mash up of quotes
Joe Strummer & Paul Simonon interviewed on CBS New York News 1982 with a clip outside Shea Stadium
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May 1982
This very rare interview was filmed just prior to the release of "Combat Rock". It's bookended with Mick Jones and Joe Strummer playing the folk songs "Oh Shenandoah" and Woody Guthrie's "Who's Going To Shoe Your Pretty Little Feet" on a ukulele. We also have other iconic performances from the early punk years by the Sex Pistols, Generation X featuring Billy Idol, the Ramones, Patti Smith, New York Dolls, the Damned, X-Ray Spex, Dead Kennedys, Blondie and other great Clash footage spanning their entire career including a 40-minute set from the London Calling tour.
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Jamiaca - Short report 7.45min Interview with Strummer, Simonon and Jones and Police on My Back
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Jamiaca - Interview with Paul Simonon & Kosmo Vinyl of The Clash
Historic Films Stock Footage Archive
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Off the Record with Mary Turner
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