Asian / Australasian Tour

updated 8 Jan 2010 - full tape review and complete edit
updated 16 July 2017 - added new full tape restored

Audio 1 flawed FM source- 4 sound – 24 tracks –94.17 mins
Audio 2 flawed FM source- 4 sound – 35 tracks –133 mins - also includes radio intro and backstage interview = 170mins

It is thought the recording was broadcast by this radio station

One of the great frustrations for Clash fans is the knowledge that around a dozen or so Clash concerts were recorded professionally by radio or TV stations but either do not circulate at all or circulate in diminished quality. For example from this tour at least one of the Sydney shows was recorded by the Australian Broadcasting Corporation but only a short clip circulates at all and this Hong Kong show broadcast on FM radio only circulated in 2004 and in an edited form!

Despite being edited down to a C90 tape (cuts out after Safe European Home) and lacking hifi sound this FM recording known as Hong Kong Dollar, Indian Cents was a great find capturing most of the penultimate date of the tour and is arguably the last real recording of Topper live (ignoring the Lochem Festival chaotic show). Although not The Clash at their finest; the continuing fighting in the audience prevented that, there are nevertheless some very enjoyable performances particularly the run through to the end of the main set. There is a particularly memorable extended Clampdown with Joe adlibbing about Britain “[there’s] everything to repress but nothing seems to GROW”

The band flew out of Melbourne on the 24th to Hong Kong where a gig had been arranged at the HK Baptist University. The gig was remembered by the band as somewhat of a downer due to continuous fighting in the audience between European ex-pats and local Chinese. The band did though according to the From Here To Eternity CD notes play 40 songs although this is no doubt an exaggeration!

After Hong Kong the band then flew onto Bangkok for a reportedly memorable last night of the tour and what they hoped would then be a break in Thailand. In reality of course Topper went cold Turkey, Paul became seriously ill and Kosmo and Joe joined in with Bangkok lap dancers! Pennie Smith’s famous quote is that she witnessed the break up of the band during her Combat Rock photo shoot outside Bangkok. In the land neat to their Apocalypse Now fascination the band by accounts descended into their own Heart of Darkness.


The Academic Community Hall in the HK Baptist University in Kowloon Tong has a seating capacity of 1,346 although at the Clash gig fans were standing (plus seating above) so there may have been a higher number that night. The Academic Community Hall serves as a cultural centre for the University and its surrounding community, providing a direct link between town and gown. A local music promoter said "I think there was a stink about the concert afterwards and rock and roll was subsequently banned from that venue”

This was reportedly broadcast on Hong Kong FM radio; Joe’s on stage comment seems to confirm this;“..for those of you at home wondering what’s going on here’ There are no station announcements but these were probably edited out as it was edited down to fit on a C90 tape. There are edits that lose much of Tommy Gun and White Man and edits that lose only seconds such as during Magnificent Seven and Janie Jones.

The first tape which misses lacks hifi sound (and ends at Safe European Home) and is in mono either because it was edited from one tape to an another or recorded direct from the radio onto a non hifi deck. Bass is low in the mix and is largely an ill defined plunk. Drums are thin and low in the mix. Topper’s intro to I Fought The Law sounds like he’s banging dustbin lids! A soundboard source so vocals are up front and clear, guitars are very good too although there is some distortion as the infamous Clash live levels defeat the radio sound guys! Crank up the volume though, ignore the sound limitations and it is a very enjoyable sound.

The tape ends after the end of the first encore (after Safe European Home). An upgrade to the complete master would be a terrific find; somewhere this great pro tape is sadly sat on a shelf gathering dust.

The new tape is full and includes all teh gig plus the raido intro and a backstage interview. More to follow...

The tape begins as the Morricone intro fades out. “Good evening and welcome to you” greets Joe and the audience shout along to a London Calling with Strummer whoops and cries aplenty. “Thank you. Oh Mama Mama, look there” intros a hard Washington Bullets which again is played at a lick. Mick’s guitar fills and solos are very effective. An edit loses the final coda. The fighting in the audience has already caused disruption as the tape restarts with the band not playing and Joe pleading “If there’s anybody else who wants to prove their manhood with these please take your fight out to the street like gentlemen! Fourth verse” and the band go into the final part of a presumably previously interrupted Tommy Gun.  

”Hong Kong people please welcome Mr Paul Simonon” Guns of Brixton drives along forcefully with plenty of inventiveness, Mick and Topper adding variations to the set standard. Not extended but a very enjoyable performance. Topper takes it straight into a fine if unexceptional Train in Vain.  As the band drop it down you can hear the bleed through from another station or previous recording.

”Now if you don’t mind, like to do a new number N.E.W. New! entitled Know Your Rights all 3 of them!” Joe has trimmed the lyrics through touring so that when he does the new vocal for Glyn Johns the next month there are just some more minor trims of extraneous wording. A proper worked out ending to the song live still eludes them though; dribbling out to an ineffective halt.

“Sorry to keep you waiting there just having a mid set conference.. I heard you, I hear you no don’t cheer can’t play either! Ha Ha Ha! For those of you back at home listening to this microphone this is the story of the Magnificent Seven 1982 style!”  Good not exceptional performance with no inspired adlib just a spoken admission midsong “Well my mind’s gone blank” An edit mid song loses a verse.

Before Joe can intro Ivan Meets GI Joe there’s more fighting to address; “Now will you please welcome.No.No.No.No. Hey let’s have the lights on these guys – yes that’s it can we get on with the show or what? Yes you sure, do you want to come up here and fight, I’ll give you a fight for your money I’m pretty good at that! Thank you very much SIR! Now would you please welcome [for the last time] Mr Topper Headon on the microphone”

The aggro continues; “Ah I can see we’ve got the cops in the audience – for those of you at home wondering what’s going on here we have um, let me see anyone up there? Lets have some house lights here Fuzzy Wuzzy! (Joe’s non-PC nickname for the lighting guy!) I see yeah yes I know..that’s the university section, hope you have your notebooks with you! Anyway for the professors this one is back to 1978 and back to the Hammersmith Palais” Two edits sadly lose most of the song but the excellent ending with Topper’s repeated drum rolls survives.

The band then tear into Wrong Em Boyo but Joe is still trying to stop the fighting coming in late. Topper batters the skins to great effect in the middle eight with Joe adding instructions to the audience “…then leave some room for that woman” between the lyrics!  “Elevator gooooooing up!” and the band race through Koka Kola but presumably to calm the audience Joe shouts before the usual segue “No IFTL no!” and “It ain’t my fault its 6 o’clock in the morning” A fine Broadway has the “Harder than Sugar Ray Leonard could punch” adlib. The great in your face soundboard vocals capture Joe’s adlibs over the excellent ending coda “in style, go forward, have dignity and blondie don’t spit on me baby, he knows who he his, let’s take this song to the grave yard and bury it!”

Topper’s intro to I Fought The Law sounds like dustbin lids being pounded!  Joe adlibs over the middle eight “Hey in Britain we have Robin Hood, in Australia we got Ned Kelly bam bam bam! And in Kingston we have Ivan!” An excellent performance is followed by an equally good Career Opportunities introduced by Joe with an introduction to play it  “fast” and as Topper beats out a drum pattern “This song here especially for those of you who remember Britain and 3 million gonna be hearing this song with more and more ears as the years go on – which is not what it was intended to be!” Momentum is maintained with Janie Jones with an edit after 30 seconds for a tape changeover.

The start of The Call Up is interrupted, “Quit the spitting come here and lie on the floor in front of me and I’ll empty my lungs onto your face!” Again a little ragged but a very enjoyable performance with Mick playing some great lead guitar. The band then tear though a little untogether but blistering, Brand New Cadillac.

Mick plays the intro to Somebody Got Murdered again unusually straight with little variation but it’s a very strong performance with Joe screaming “Murder” and adding dog barking noises over the ending! Joe then intones the Clampdown spoken intro but again with variation; “The kingdom was ransacked, the jewels were put back and the chopper descends, a man in the mac with a suit in the back and the microphone has no friends, and the tape on the spool well it ran for the fool and it ran without end, and the chopper descends and the kingdom never ends” The band then blast into a memorable exceptional Clampdown. Rarely failing to excite live; surely one of the great rock’n’roll intros period, the band pull out all the stops extending the song brilliantly with Mick adding great guitar effects and fills. Joe then goes into a great Strummer improv “I was begging to be melted down, working on Three Mile Island, accidentally taking it through 3000 miles and in the Houses of Parliament on Westminster Square, by the river Thames, way, way back in rainy England, justice has been killed we have in Britain people working for the clampdown, that’s all we have in Britain. We have thousands and thousands of telephone taps, more and more riot police shields and helmets and even the guy behind the water cannon so effective in Japan and everything to repress but nothing seems to grow, nothing seems to GROW”. The band then bring it back up again brilliantly and the song and main set finally ends.

First encore begins with Charlie Don’t Surf and a long intro from Mick, improvising with the melody until Joe and Topper take it into the chorus. Presumably due to more trouble in the audience the band stops momentarily then slowly band build it back up. A dreamy laid back feel to the performance, there’s no Strummer adlibs but the final coda is excellent with crescendo crashing guitars.

Police And Thieves again played straight is next. An unexceptional performance, lacking an edge or rant but the dub style roots rock reggae drum and bass section is the highlight. Much better is a fine Stay Free; “This one’s off our 2nd LP” says Mick to which Joe can’t resist adding “and some cunts like this song!”

Armagideon Time is strong with more fine Mick guitar work. Joe instructs  “Topper get tight, swing it tight!…so Hong Kong groove, Clash strut, rock’n’roll!” “This next tune, as the Police move along the audience, we’re taking you back to our Safe European Home” Joe’s rhythm guitar sound is clear buzzing below Mick’s dominant lead. It’s hard to judge Topper’s performance at this gig because of the poor drum sound.

As the band leave the stage Joe says  “I don’t think its fair those people behind you can’t see”. When the band return Mick says “How we getting on with the seat relocations? This is a 1930’s jazz song for you all” The recording cuts off  presumably before the band continue with Jimmy Jazz and loses the rest of the gig. 

Probably misses
Complete Control
Jimmy Jazz
English Civil War
Police on My back
Clash City Rockers
This Is Radio Clash
Londons Burning

01 Radio Speakers intro
02 ennio Morricone Intro
03 London calling
04 Washington Bullets
05 Tommy gun
06 Guns Of Brixton
07 Train in vain
08 Know Your Rights
09 Magnificent 7
10 Ivan Meets Gi Joe
11 White man
12 Wrong Em Boyo
13 Koka Kola
14 Broadway
15 I Fought The Law
16 Career Opportunities
17 Janie Jones
18 Call Up
19 Brand New Cadilac
20 Somebody Got Murdered
21 Clampdown
22 Public encore 01
23 Charlie Dont Surf
24 Police And Thieves
25 Stay Free
26 Armagideon Time
27 Safe European Home
28 Public encore 02
29 Jimmy Jazz
30 Complete Control
31 English Civil War
32 Police on My back
33 Garageland
34 Speakers and public encore 03
35 Clash City Rockers
36 Spanish Bombs
37 I'm So Bored with the U.S.A.
38 Londons burning
39 Bankrobber
40 Backstage itw

to follow

Tour poster

Sounds 6 March 82
Clash in Japan - Tour Review
by Haruko Minakami
Cover - page 1 - page 2
"So many times the rumoours blossomed and then faded away. It had been seriously reported in Japanesse magazines that the Clash would never play Japan until a promoter made available Halls without seating..."

Clash Tour Book
3mb PDF
The official 40 page Clash Tour Book

DIG Magazine 2002
Unseen Japan Tour Photos Jan/Feb 82

FM Recopal Magazine
Unseen Japan Tour Photos Jan/Feb 82

Music Magazine
Unseen Japan Tour Photos Jan/Feb 82

Sho Kikuchis Book
Unseen Japan Tour Photos Jan/Feb 82

Weekly Focus
Unseen Japan Tour Photo

Music Magazine
Rat Patrol from Fort Bragg Tour
Yuji Konno meets the Clash as they arrive in Japan
"Paradox is the Enemy"

Newspaper clip
Joe & Mick in Kyoto + caption

Mysterex - New Zealand Music and Culture
The Clash in New Zealand - February 1982
The Punk revolution was already won in New Zealand by the time the Clash breached our shores in February 1982.

Tropic of Clash
page 1 - page 2
Australian/Syndey interview with Strummer on their day off in Sydney

Any further info / reviews

This is the most incomplete section any help would be appreciated. The Clash played 7 nights in Sydney plus other Australasian dates, as well as 7 nights in Tokyo and other Japanesse/Asian dates.
Jan 24 Shibuya Kohkaido, Tokyo, Japan
Jan 25 Festival Hall, Osaka, Japan
Jan 27 Sun Plaza Tokyo, Japan
Jan 28 Sun Plaza Tokyo, Japan
Jan 29 Sun Plaza Tokyo, Japan
Jan 30* Kosein-Kaiken Hall, Tokyo, Japan
(Matinee Show 6.30pm for younger fans)
Jan 30* Kosein-Kaiken Hall, Tokyo, Japan
(Evening Show)
Feb 1 Sun Plaza Hall, Tokyo, Japan
Feb 2 Festival Hall, Osaka, Japan
Feb 5 Logan Campbell Centre, Auckland, New Zealand
Feb 6 Logan Campbell Centre, Auckland, New Zealand
Feb 7 Wellington Town Hall, New Zealand
(from Story of the Clash Vol 1.booklet)
Feb 8 Town Hall, Christchurch, New Zealand
The didn't have Christchurch scheduled on their tour itinerary, so a bunch of locals got together & put out a petition in the record shops to get them to play Christchurch, & they sent it to the promoter, consequently The Clash found out & decided to squeeze a gig in there. The Christchurch guy who recorded the gig made the petition into the artwork. The actual petition is shown in the intro of Let's Rock Again.

Feb 11 Capitol Theatre, Sydney, Australia
The Clash, Sydney Morning Herald Australia preview

Tropic of Clash - page 1 - page 2
Australian/Syndey interview with Strummer on their day off in Sydney

See also gig reviews here part 1 and here part2 from the Age newspaper

Sydney Sunday Herald - Clash in Hotel Run In -

Sydney Morning Herald 29 Jan Tokyo gig preview


Feb 12 Capitol Theatre, Sydney, Australia
Feb 13 Capitol Theatre, Sydney, Australia

Hey, I visit the site off and on, it's superb, and am still a Clash mentalist, collecting bootlegs (and anything I can get my hands on really) with varying levels of satisfaction; an obsessive for sure. Just reading your thoughts on the Hong Kong show and the frustration of gigs being pro shot and recorded but not in circulation: best show of any band I've ever seen was Saturday, February 13, 1982, at the Capitol Theatre and I wonder whether this was the ABC-recorded gig you allude to? For the site's benefit I can tell you they were supported by a very young and great Sydney ska/pop outfit Spy V Spy who "dedicated their most political song, Behind The Iron Curtain, to The Clash". The Clash came out, Joe said: "Hello, my name's Joe, we're The Clash and this one's London Calling to the faraway town."

Setlist definitely started:
London Calling
Safe European Home
Spanish Bombs ("This is Spanish Bombs in Andalucia!")

Songs they for sure played, but order unknown: Career Opportunities ("I don't give a flying fuck what the rich are doing"), Tommy Gun, Clampdown, The Magnificent Seven (great call-and-response with the crowd: "What have we got?"), Police On My Back, The Call Up, Wrong 'Em Boyo, The Guns Of Brixton (Paul had a thin stand on his bass, on the neck, which held his cigarette in between tokes), Brand New Cadillac, Ivan Meets GI Joe ("We're gonna turn the microphone over to Topper Headon"; to the huge applause: "Oh, you polite people") Train In Vain (Mick wore red shirt and black braces), Garageland, White Riot, Radio Clash, Koka Kola.

This is from memory and I've missed some for sure, judging by the sets of the day. Amazed no or few Australian bootlegs exist. I remember a chick behind me bellowing for Police And Thieves, which they didn't play. Other supports were local indie acts of the day, different ones each night. I believe this Saturday show was one of the best of the seven.

Sorry these recollections have taken so long; I meant to email ages ago. I'm only on this address 'til Friday but always at should you wish to reply/want more details. Cheers, Tim From: Tim Gill <tim.gill[a]>

Feb 14 Capitol Theatre, Sydney, Australia
Sydney Sunday Herald gives The Clash praise
Feb 16 Capitol Theatre, Sydney, Australia
Feb 17 Capitol Theatre, Sydney, Australia
Feb 18 Capitol Theatre, Sydney, Australia
Feb 20 Cloudland Ballroom, Brisbane, Australia

The Clash Tonight! (preview), Brisbane Courier Mail

Cloudland review, Brisbane Courier Mail "Violent Fans threat to Rock"

Brisbane Courier Mail - Clash's Brutal Rock Wows Fans


The term Pig City was first used about Brisbane by Joe Strummer at Festival Hall in 1982. I have spoken to a number of people who were at the 1982 Clash concert at Cloudland (me included) and we all recall the words being yelled by Joe strummer at cloudland i.e. 'Pig city' a reference to Brisbane being part of a police state. JOHN TRACEY

I was at the Clash concert at cloudland. They invited Bob Weatherall (Qld Aboriginal leader) on to stage with them and he danced and delivered a rave about the commonwealth games protests. I can't remember the term Pig City being used, but Im surprised I can remember anything of the night.

Feb 22 Thebarton Town Hall, Adelaide, Australia
Feb 23 Festival Hall, Melbourne
Feb 24 Perth, Austrailia
Feb 25 AC Hall, Hong Kong
Feb 27 Thamasat University, Bankok, Thailand