Supported by 'The Five'

updates 9 Jan 2010 - added photos
updated 28 March 2016 - full review

Audio 1 -
above average - Sound 3 - 85 min - unknown gen? - tracks 23

Audio 2 -
good sound - sound 4 - 91 mins - master - tracks 23

Audio to follow

Two audience recordings circulate of this recording;

The widely circulating one is an analogue copy or more off the master. It loses the start of Wrong Em Boyo beginning at the ska part and loses also the end of I’m So Bored With USA. It suffers too from some distortion and distance from the stage. The best songs not affected by the distortion are the quieter ones. The sound was a touch distant though it has good stereo and a reasonable degree of clarity as though the recording device could capture some width of sound and clarity but not decibels. There is more shouting near the taper and vocals less clear; generally a muddier sound but otherwise not bad. An  upgrade to the master would be very welcome. 

The best recording is from the master but does not circulate widely. It is complete and being a master source has greater clarity and detail. It also suffers from distance to stage and some distortion. It has good range for an audience recording, captures the atmosphere and performance well and is very well worth seeking out.

The Clash had sold out the Pittsburgh Stanley Theater two weeks in advance and two audience recordings (including a master) capture the fifth consecutive performance in a row from the tour.  Unusually Joe barely addresses the audience throughout and each song is punched out hard and fast with a barely a pause for breath. At the end of the show Joe apologises for his behaviour but for what specifically is unclear. Certainly Joe and the band let their music alone do the talking tonight and deliver a performance that is remembered as one of the most memorable nights in the Theater’s history. Pittsburgh Magazine list this gig as one of the ten most important concerts in Pittsburgh history. In the article, promoter Engler remembers military-style netting stretching across the stage, but more clearly recalls conversations with the Clash’s late frontman; “I had a chance to talk to Joe Strummer for a good while.” The gig is also memorable for an extended Career Opportunities with a marked rhythm change whether rehearsed or impromptu is unclear.    

The gig was reviewed locally very positively [links]. The Pittsburgh Post-Gazette review by Bill Stieg noted that Elvis Costello’s concert the previous night was a near sell-out but The Clash sold out the venue 2 weeks in advance with hardly any promotion. It had been a long wait for fans as it was the first time the band had played Pittsburgh but both band and crowd responded to the occasion. He said The Clash ‘assaulted the crowd with its rock’n’roll. Those on the floor stood from start to finish- a rare sight. But they had no choice - the band’s energy is irresistible….Each song was delivered with the kind of compelling sincerity so sadly lacking in rock concerts these days’.

Pittsburgh Press Review by Pete Bishop compared Costello with The Clash saying both rely more on words than music  but Costello’s ‘lyrics are very much part of the introspective “Me Generation” whilst The Clash‘s are the social consciousness and protest that started with Bob Dylan (but then spoils his argument with references to Styx and Lynyrd Skynyrd). He said Strummer’s voice was closely akin to regurgitation and describes the back drop and camouflage over the PA speakers. He concludes ‘…when folks with tickets for the floor stand the entire night, you know something’s special going on.’      

'The Five' ended up opening for the Clash; a scheduled opening act cancelled on short notice, so The Five were said to have filled in admirably.

Johnny Kinkdom: I was in the audience on the night in question. The guy behind me didn’t like me standing and dancing so he jumped me and started ripping my shirt to shreds. Two guys next to him grabbed him and pulled him back, and then the ushers hauled him away. After he left, everyone was up and dancing. I kept the ripped shirt and it's now framed and on the wall. My kids think I am a GOD because of that ripped shirt.

The stereo miked recordings begin with the intro music and there is a huge roar around the tapers as the band come on stage. With almost his only communication with the audience tonight Joe announces “London Calling to the faraway town” and the band kick into a hard sharp and fast London Calling. Joe is in good voice but gets muddled somewhat with his lyrics. Mick’s solo is again too far back in the sound mix. 

Joe’s cry “Liiiiiights” and Paul’s bass line then heralds an always welcome One More Time, played fast, short and intense with no instrumental additions; 1977 style. Mick’s guitar sound is different again; experimenting and varying his sound.

The recording captures the energy of the band and the packed audience. With no pause it’s into a very enjoyable Rock The Casbah; the band banging them out one after another as Joe liked. (White Man In) “Hammersmith Palais” orders Joe and after Mick’s “1-2-3-4” the band oblige with the ska rhythm to the fore at the start. The band continuing to vary the sets to keep them fresh; Terry bedded in, the band very tight.

Then a short pause for the first time and Mick begins the intro to Know Your Rights; his guitar too far back in the mix still but it’s a sharp tight committed performance. Guns of Brixton features lots of Mick’s effects, a highlight. Then it’s straight into Police on My Back with Mick’s lead guitar sharp and metallic; the band belting out the songs with great energy. Ignore the sound deficiencies and enjoy. 

Without a pause again it’s straight into Car Jamming; sharp, fast, intense. Then This is Radio Clash drenched in Mick’s effects; an aural assault. Unusually there’s no Joe adlibs in Magnificent Seven (long instrumental section) but he’s in great voice on a fast intense performance again with Mick’s effects prominent. Into Train In Vain, Mick’s lead guitar clear and impressive, audience clearly loving it. An edit at end of the song does not lose the start of Wrong Em Boyo on the master source. Paul’s bass lines clear

Some minor tape twists in the master during an enjoyable fast, committed The Call Up. “Hup 2-3-4’s” of audience are interrupted to roars of approval by the start of Brand New Cadillac which the band blast through. Then in contrast Mick gently picks out the intro to Somebody Got Murdered but Terry’s drums soon restore the energy; very good if unexceptional performance.

Unusually Pressure Drop is in the main set (had been featuring regularly in the encores on the tour and end of UK tour). It’s tight and fast then after barely a second it’s into I Fought The Law, blasted out as throughout the main set with intensity and passion. 

The first encore begins with Armagideon Time on which Joe works through his repertoire of whoops wails and cries, bass and drums clear, Micks guitar and effects (of which plenty) less clear. Interesting performance for variety of Mick’s effects and Terry’s drum fills and lengthy drum and bass only section at end. Should I Stay or Should I Go is followed by Joe’s first communication since the start of the gig with the audience; ”We’d like to play Safe European Home now, thank you” Dropping it down for an extended drum and bass section there’s rare Strummer adlibbing tonight “went up to London, took one look and a cop chased him down…” The encore ends with not a word from Joe or Mick.

After an edit Terry’s bass drum begins the second encore and a fine Straight To Hell. Despite an unusually taciturn night Joe obviously feels the need to preface I’m So Bored With The USA with “Yes this next song is about the Americanisation of English culture“. The gig ends with a memorable Career Opportunities which starts as normal but at the end of the verses Joes sings “Career” and the audience sing it back so Joe repeats “Career” and the audience repeat it back over and over until the band speed it up and change the rhythm. Planned or impromptu it sounds great. Finally Mick brings it back to the original ending. 

As the band leave the stage Joe says “Thank you and goodnight. I apologise for my behaviour” 

Copyright: John Bendik -
PDF link to Johns photos

Did you go? What do you remember?
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The Stanley Theater, built in 1928, had been one of nation's top live music venues during the big band era of the 1930s and 1940s but with the fading of the big bands the Stanley became a first run movie house from the late 1940s. Then in 1973 after a half million dollar face lift, upgraded stage and restored auditorium the Stanley was a more attractive place to hold concerts. New aisles were added to the auditorium that reduced the seating capacity from 3,704 to 3,491.One of the first rock groups to play at the Stanley was the Velvet Underground in 1968. Promoter Rich Engler joined forces with promoter Pat DiCesare and they purchased the Stanley in 1977 and became the top grossing concert theater in the United States.. Billboard Magazine named the Stanley Theater the "Number One Auditorium in the U.S." several times during the 1970s and 1980s. 

The Pittsburgh Cultural Trust acquired the Stanley from DiCesare Engler in 1984, spent $43 million on renovations, and relaunched it as the Benedum Center for the Performing Arts in 1987. Now the home of the Pittsburgh Opera and Ballet classical music is now heard in the once great hall of rock’n’roll.

Bob Marley performed his last ever live concert at the Stanley on September 23, 1980, It was eight months before his death from cancer in 1981. Marley had collapsed while jogging in New York’s Central Park on September 21 and was taken to a hospital. Doctors informed Marley that the cancer that he had been diagnosed with three years earlier had spread. They urged him to stop performing. Engler received another call from Marley’s agent on the day of the show telling him the band was headed to Pittsburgh. Talking to Rich backstage before the show Marley said that he had to go on because his band needed the money and he did not want to disappoint his fans. The concert was recorded and released as the album “Bob Marley Live Forever”.  A 30th anniversary of the concert was held at the Benedum on September 23, 2010..

The Clash received a rapturous response in Pittsburgh (and would return the following month) perhaps partly due to The Clash’s lyrics as hard times had returned to Pittsburgh in the early 1980s. The great steel mills of Western Pennsylvania closed their doors throwing thousands out of work. In the four county area surrounding Pittsburgh 22,000 steel workers lost their jobs. A few months before The Clash, the Stanley had hosted the WDVE Steel Workers Benefit Concert. The gig ends appropriately with Career Opportunities.

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21	London Callling One More Time Rock the Casbah White Man Know Your Rights The Guns of Brixton Police on My Back Car Jamming This is Radio Clash Magnificent Seven Train in Vain Wrong Em Boyo The Call Up Brand New Cadilac Somebody Got Murdered Presure Drop I Fought the Law Armagideon time Should I Stay or Should I go Safe European Home Straight to Hell Im so Bored with the USA Career Opportunities

If you know of any articles or references for this particular gig, anything that is missing, please do let us know.

Pittsburgh Post Gazette review

Pittsburgh Eve Paper

If you know any please let us know