Lossless Bootleg Bonanza: The Clash – Boston, MA (03/09/80)

The Clash - 1980-03-09-TICKET-Boston

The Clash
Orpheum Theater
Boston, Mass.
March 9, 1980

Download: FLAC/MP3

From My CDR collection.

1: Tuning 1:13
2: Clash City Rockers 3:41
3: Brand New Cadillac 2:06
4: Safe European Home 3:51
5: Jimmy Jazz 4:29
6: London Calling 3:43
7: Guns of Brixton 3:31
8: Stand By Me 3:21
9: Protex Blue 2:08
10: White Wan 4:13
11: Koka Kola > 1:38
12: I Fought the Law 2:29
13: Spanish Bombs (end spliced after song, tape flip) 3:45
14: Rudie Can’t Fail 3:26
15: Police and Thieves 6:44
16: Stay Free 4:04
17: Wrong ’em Boyo 4:00
18: Clampdown 4:15
19: Janie Jones 2:01
20: Complete Control 3:25
21: Encore Applause 2:19
22: Armagideon Time (Natty Dread on vocals) 5:29
23: Tommy Gun 2:29
24: London’s Burning 3:21

lineage:
AKG D-190E microphones >Sony 158 cassette deck (dolby B on) > Maxell XLI 90 min. cassettes > copy (same, no dolby) >played on Nak. 300 into soundforge (wav) >flac (sb’s aligned) > MP3

Joe Strummer: lead vocals, rhythm guitar
Mick Jones: lead guitar, piano, harmonica
Paul Simonon: bass, backing vocals
Topper Headon: drums, percussion

One thought on “Lossless Bootleg Bonanza: The Clash – Boston, MA (03/09/80)

  1. This file here of The Clash’s March 9, 1980 concert at Boston’s Orpheum Theatre no longer downloads from Mediafire.com. Would you consider uploading the file to another site, Mr. Brewster, or perhaps sending privately?

    I was at this show, so would like to have an audio copy of it. I am doubtful any video of it exists, unless the band had something filmed. I cannot recall if personal videotape camcorders existed in 1980. I think only Super 8 film cameras would have been possible then, videotape cameras only possible in the television industry. I know a Super 8 film exists on YouTube of the band performing Safe European Home,” synced with perhaps audio from your recording. I am not sure if any more than that exists of the March 9, 1980 Clash concert with another video source.

    The Clash were, by this time, quite the rage, and on this tour performing tunes from their “London Calling” album released three months previously in the United States (a month earlier in the United Kingdom). It was that LP that broke them into the mainstream with the hit single “Tran in Vain” (their first Top 40 U.S. hit), although it would still take “Rock the Casbah” (or “Rock the Cash Bar” as I used to jokingly call it) from their “Combat Rock” album to give them a Top 10 stateside hit in 1982. By ’82 I was so-o over The Clash (as well any identification with left-wing politics) and focusing more on the mostly non-political American punk groups such as The Ramones and The Cramps, plus my favorite Boston garage bands The Lyres,The Outlets, and The Dogmatics.

    Anyway, the opening acts at this March 9, 1980 concert at Boston’s Orpheum Theatre were New Orleans rhythm and blues singer Lee Dorsey, and Canadian pop-punk group The B Girls, whose lead singer, Cynthia Ross, dated The Dead Boys’ Stiv Bators for awhile after the group moved to New York in 1977. Dorsey is best-known for his two charting Billboard hits, 1966’s #8 hit “Working in the Coal Mine,” which would become a Hot 100 cover hit for the New Wave art-rock group Devo almost two years after this show, and the #7 hit “Ya-Ya,” a 1961 dance number set to a children’s sing-song rhyme that was re-tooled in 1962 as “Ya Ya Twist” for British singer Petula Clark, in the French Twist dance craze. The B Girls had a few singles released on the indie Bomp! label in this period.

    Actually, it would be great to have the entire September 19, 1979 Orpheum (Boston) concert, as opening act The Undertones were amazing that evening and really gave The Clash a run for their money. I became an Undertones fan on the spot that night! I had never heard a lead vocal like that of Feargal Sharkey, plus those infectious pop-punk tunes were just terrific. From “Jimmy Jimmy” to “Male Model” to “Teenage Kicks,” those lads from Derry, Ireland left me feeling about them pretty much the same as I had about “The Only Band That Matters” a mere seven months previous, at their legendary Harvard Square Theatre concert with Bo Diddley on February 16, 1979, part of their seven (U.S.)cities-in-seven-days “Pearl Harbor Tour” (later renamed the “Give ‘Em Enough Rope Tour).

    The other opening act of The Clash’s “Take the Fifth Tour” the previous fall of 1979 were the “Soul Men” themselves, Sam & Dave. I also seem to recall there was some controversy as to whether one of the Sam & Dave duo was the original singer, whether Sam Moore had performed with another singer posing as Dave Prater, or whether Dave Prater performed with another singer posing as Sam Moore. Evidently the pair had legendary feuds (due to drug use and touring fatigue of Prater, displeasure with repetitive performance of Sam & Dave catalog on the part of Moore) from time-to-time, and each had his own solo act. So, periodically, one or the other of the iconic duo wouldn’t show up to a gig and would be replaced by a fake “Sam” or “Dave.” Prater even performed with a guy named Sam Daniels as “The New Sam & Dave Revue” for several years before his (Prater’s) 1988 death in a car crash. If I didn’t see the authentic Sam & Dave open for The Clash in September 1979, my inclination is I saw Sam Moore with a different “Dave.”

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