On this date in 1978, THE CLASH released the single, (WHITE MAN) IN HAMMERSMITH PALAIS, (Jun 16th, 1978).
Issued in a special pink or green bag with the band’s name on it, (WHITE MAN) IN HAMMERSMITH PALAIS became The Clash’s fourth record to chart, peaking at #32 on the UK singles chart.
The rhythm section of Simonon and Headon was funky enough to make The Clash one of the few new bands capable of effectively tackling reggae. In (WHITE MAN) IN HAMMERSMITH PALAIS they forged an outstanding blend of rock and reggae that expertly interpolated the reggae groove into their punk attack. Here a blistering guitar intro morphed into a slower ska rhythm, catching many fans used to earlier works by surprise.
"We were a big fat riff group," Joe Strummer noted in The Clash's film Westway to the World. "We weren't supposed to do something like that.”
Joe Strummer’s lyrics were autobiographical and an attack on several levels. First, we’re told of his disappointment at the calibre of performance from the likes of Dillinger and Leroy Smart featured at a reggae "All Niter"the front-man attended at the"Hammersmith Palais de Danse". It also vented about aggro he’d received over being the only white guy in a room.
Later, more disillusionment came from the nascent Punk scene, and Joe reflected on how bands were often too busy fighting to actually cultivate and channel the music. ("The new groups are not concerned with what there is to be learnt, they're all too busy fighting for a good place under the lighting").
‘Fake’ punk acts (more power pop really …and probably The Jam but we’ve never really been told) are also in his sights, accusing them of selling out and putting style before substance. ("Burton suits, hah, you think it's funny? Turning rebellion into money").
Finally, there’s concern over the social decline of Britain, with a barbed quip that things might get so bad that we’d even send a limo to fetch a mass-murderer like Hitler in the unlikely event of the dead dictator flying into London.
There’s something about those opening chords of ‘White man’: when they hit them in unison you’re immediately transported back to the summer '78, walking the streets of London in the early hours, beer in hand and not caring one bit.
