(White Man) In Hammersmith Palais
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| "(White Man) In Hammersmith Palais" | ||
|---|---|---|
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| Single by The Clash | ||
| from the album The Clash | ||
| Released | June 16, 1978 | |
| Format | 7" single | |
| Recorded | mid-1978 | |
| Genre | Punk | |
| Length | 4:00 | |
| Label | CBS Records | |
| The Clash singles chronology | ||
| Clash City Rockers (1977) |
(White Man) In Hammersmith Palais (1977) |
Tommy Gun (1978) |
"(White Man) in Hammersmith Palais" is a song by The Clash featured on the U.S. release of their debut self-titled album.
Sandwiched on the album between cult [citation needed] punk hits "White Riot" and "London's Burning" this fan's favourite [citation needed] seems slightly out of place [citation needed], as it takes a more subtle and pensive style, discussing honestly and persuasively the views and left-wing ideology of the band where the former two shout them out at electrifying [citation needed] pace.
The song shows considerable musical and lyrical maturity [citation needed] for one of the band's earlier compositions and is stylistically more in line with the thirteenth track on the album, "Police and Thieves" [citation needed], a cover of the reggae hit by Junior Murvin, as the powerful [citation needed] guitar intro of "(White Man) in Hammersmith Palais" descends into a slower reggae-influenced rhythm.
The song starts by recounting a reggae 'showcase' night at the Hammersmith Palais in London. A number of acts were touring the UK from Jamaica (Dillinger, Leroy Smart and Delroy Wilson). Strummer was disappointed and disillusioned that these performances had been more 'pop' and 'lightweight' (like the Four Tops compared to other more 'soulful' soul groups) than he had been expecting (the distinction of reggae being a more bass-line driven type of music compared to the more polished 'treble' sound of pop) and that the acts had been 'performances' rather than the roots rock rebellion that he had been hoping for. [citation needed]
Much of Joe Strummer's lyrical subject matter is summarised in this diverse song as he starts by name-dropping some of the reggae acts (Dillinger, Leroy Smart, Delroy Wilson, and Ken Boothe) which influenced The Clash so strongly throughout the band's career, as they led the way for punk and reggae artists to unite in mind and music (as celebrated by reggae legend Bob Marley in his song "Punky Reggae Party"). The song continues by combining topics from other songs on the album, such as the anti-violence theme of "Hate and War", the race issues of "White Riot", and the problems of 'wealth distribution' in Britain at the time as told in "Career Opportunities", and also goes on to accuse other new bands of superficiality, as well as the British public of 'changing their votes' too often, and warns of the rise of fascism in Britain ("If Adolf Hitler flew in today, they'd send a limousine anyway")
"(White Man) in Hammersmith Palais" helped to assert The Clash as an important band musically and politically, and it set them apart from the anarchistic image of punk that had been established by the Sex Pistols, in short helping to give them the title 'the thinking man's yobs'. [citation needed]
The song was covered by 311, originaly to be released on their album Transistor, but was taken off at the last minute and later released in 1999 on the Clash tribute album, Burning London.
This song was one of Joe Strummer's favourites, and was played at his funeral. [citation needed]
