SCENE1 AUG.26 SEPT. 1, 1982

THE CLASH, KURTIS BLOW Akron Civic Theater Aug. 17

SCENE1 AUG.26 SEPT. 1,1982

THE CLASH, KURTIS BLOW Akron Civic Theater Aug. 17

Perhaps no band has spent more time answering the question, “What can a poor boy do, `cept to sing in a rock `n’ roll band,” than the Clash. Defiant,
Perhaps no band has spent more time answering the question, “What can a poor boy do, `cept to sing in a rock `n’ roll band,” than the Clash. Defiant, concerned, outrageous, hypocritical, Strummer, the Clash have made more enemies than friends throughout their career. No more Mr. Nice Guy may well have been their motto, but Strummer, Jones and Simonon have proven that they care enough about their fans to give them the very best.

Last Tuesday night’s assault of “Combat Rock” was a tribute to their mental tenacity and Pied Piper stance as a band one would most likely go to war with. From the rallying cry feeling of “London Calling,” which began the performance, to the final encore of the 20 odd song set, the Clash ripped through a layman’s guide to political commentary rock.

The whole show was greatly enhanced by the constantly changed slide projections that acted as a technicolor backdrop to the awesome power of the music. World leaders, starving refugees and popular culture symbols made for a kind of graffiti imagery that pounded home the songs’ sociopolitical themes with brutal realism and honesty. Joe Strummer, looking like Viet Nam War era prisoner of war with his cammies and rolling Mohawk haircut, barked out the songs’ orders to the crashing guitar leads of Mick Jones and the driving rhythms of, bassist Paul Simonon and hired drummer Terry Chimes, who replaced Topper Headon just before the tour started. Although the sound left much to be desired the effect was one of purposeful distortion.

Like the Beatles’ “Revolution” which utilized the distorted guitar much like an air raid sirens horrifying sound, the Clash present themselves and their music in much the same manner, and the effect is one of concentrated power and energy. Mick Jones’ frenetic vocals on “Police On My Back” brought this over all the more effectively, as did Strummer’s on “Career Opportunities.” Kurtis Blow’s ghetto rap opening set came across as only a curious novelty to most of the audience.

Seeing’s how the Clash make it a point to have rap artists opening most of their concerts, it was especially interesting to see how the people reacted to this form of pure “street jive.” Blow’s 20minute “performance” went over most of the people’s heads. The disc jockey who spun the records and made the music behind him was great.

Marc Holan

DOOBIE BROTHERS Blossom Aug.17