"(White Man) In Hammersmith Palais" is a significant track in The Clash's discography, known for its blend of punk rock with reggae influences. Originally released as a single in 1978, initially missed placement on their second album, "Give 'Em Enough Rope," but its eventual inclusion on the American release of their debut album underscored its importance. Critics and fans alike lauded its fusion of reggae and rock, emblematic of the Clash's signature blend of "black music and white noise." With its blistering social commentary and critique of the commercialization of rebellion, the song remains a potent reminder of the band's incisive songwriting and enduring relevance.
Joe Strummer's experience at the reggae concert inspired the introspective lyrics of "(White Man) In Hammersmith Palais." Feeling like an outsider in a crowd seeking authenticity rather than commercial spectacle, Strummer's observations led him to reflect on the state of the British punk scene. The song critiques the commodification of rebellion within the punk movement, lamenting how the original spirit of defiance was being co-opted and diluted for profit. Through this song Strummer challenges the authenticity of the punk ethos and calls for a return to its rebellious origins. Joe Strummer's incisive lyrics also offer a searing critique of the music industry, cultural appropriation, and political apathy.
The title refers to the Hammersmith Palais, a famous music venue in London where the band performed and where clashes between punks and reggae fans were not uncommon. Musically, "(White Man) In Hammersmith Palais" incorporates elements of reggae, including a prominent bassline and offbeat rhythms, alongside the band's signature punk sound.
"(White Man) In Hammersmith Palais" was pivotal for The Clash, showcasing their musical and political versatility beyond the confines of traditional punk. It marked a departure from the established punk mold set by bands like the Sex Pistols, positioning The Clash as "the thinking man's yobs." The song resonated deeply with fans, earning the title of single of the year in the 1978 NME end-of-year readers' poll. Additionally, it secured the seventh spot in John Peel's Festive Fifty in 1978, as voted by listeners to the show.
THE CLASH - LOST IN THE SUPERMARKET / DEATH OR GLORY
Released: December 14, 1979
Album: London Calling
LOST IN THE SUPERMARKET
"Lost in the Supermarket" is a track from The Clash's 1979 album "London Calling," written by Joe Strummer and Mick Jones and produced by Guy Stevens. Despite featuring Jones on lead vocals, the song was written by Strummer. It holds the eighth position on the album's tracklist. The song's inspiration comes from Strummer's experience living near the International supermarket at 471–473 Kings Road, beneath the World's End Estate, with his girlfriend Gaby Salter and her family.
"Lost in the Supermarket" offers a commentary on the dichotomy between the personas constructed by advertising and the reality of individuals' lives. The lyrics poignantly express a sense of disillusionment and alienation, as the protagonist navigates through the consumerist landscape, feeling disconnected from the promises of fulfillment offered by marketing slogans. Strummer's admission of feeling overwhelmed by the sensory overload of the supermarket reflects a common sentiment of disorientation in modern consumer culture. Yet, the song also delves into the personal realm, exploring the experience of growing up in a working-class suburban environment, marked by feelings of isolation and fragmentation.
DEATH OR GLORY
"Death or Glory" is a standout track on the iconic “London Calling” album. The song stands as a poignant reflection on the fleeting nature of fame and the inevitable passage of time. By drawing inspiration from the classic song "As Time Goes By" from the film Casablanca, Strummer and Jones infuse their punk anthem with a sense of nostalgia and melancholy.
The lyric "he who fucks nuns will later join the church" carries a clever metaphorical meaning, highlighting the irony of rebellion turning into conformity over time. While it adds a humorous and thought-provoking element to the song, its provocative nature might have contributed to the decision not to release "Death or Glory" as a single.
The reference to "Love 'n' hate tattooed across the knuckles of his hands" indeed pays homage to the iconic film "The Night of the Hunter," where Robert Mitchum's character sports these tattoos. This classic film, known for its haunting atmosphere and memorable imagery, has left an indelible mark on popular culture, influencing various artistic mediums, including music.
Guy Stevens' eccentric and unconventional approach to producing undoubtedly left a lasting impact on the Clash's recording sessions, as evidenced by the chaotic yet inspired atmosphere during the making of "Death or Glory." His uninhibited behavior, such as smashing chairs against the wall, served to fuel the band's creative energy and push them to new heights. Stevens' ability to channel the raw emotions and intensity of the Clash into their music speaks to his unique talent as a producer.
THE CLASH - COMPLETE CONTROL / CLASH CITY ROCKERS
COMPLETE CONTROL
Released: September 23, 1977
Charted: UK: #28
"Complete Control" is a track released as a 7" single and included on the U.S. version of their debut album. This song is an absolute masterpiece of rage, penned as a ferocious assault on their label, band promoters, police, and critics. Mick Jones and Joe Strummer wrote the song as a response to their record company's overbearing management. It recounts The Clash's experience of signing a contract only to find themselves stripped of control over their own music. The single fiercely attacks its own record label for releasing the band's previous single, "Remote Control," against their wishes. The production is credited to Jamaican producer Lee “Scratch” Perry, although sources differ on his exact influence.
The title "Complete Control" originated from a conversation between The Clash's manager Bernie Rhodes and Sex Pistols manager Malcolm McLaren. According to Joe Strummer, Rhodes expressed his desire for "complete control" over the groups during a meeting at the Ship in Soho after the Anarchy Tour. Strummer recalled leaving the pub with Paul Simonon and bursting into laughter at Rhodes' declaration, finding the notion amusing.
Mick Jones's contribution to the track is undeniable, particularly with his masterful guitar work. His iconic riffage transcends the punk genre, carrying an urgent energy throughout the song. Jones's blistering solo, modulating teasingly before slamming back into the song, adds another layer of intensity. The finale, featuring Jones's keening backing vocals against another ferocious guitar solo, stands out as a powerful moment. Joe Strummer's shouted "You're my guitar hero!" during Jones's solo adds to the electrifying atmosphere of the track.
"Complete Control" solidified The Clash's reputation as a band committed to anti-establishment principles and earned them significant credibility with their fans. As punk began to wane and many bands either disbanded or shifted their style, The Clash maintained their integrity, refusing to compromise their values. This steadfastness resonated with their audience, who appreciated their authenticity and refusal to "sell out."
"Complete Control" was not initially included in the original UK release of The Clash's self-titled debut album in 1977. When the album was released in the US in 1979, this was one of five songs added to the tracklist.
CLASH CITY ROCKERS
Released: February 17, 1978
Charted: UK: #35
"Clash City Rockers" was a single released in February 1978, with "Jail Guitar Doors" on the B-side, a reworked version of a song from Joe Strummer's pub rock era. This track marked the second of three non-album singles between their self-titled debut album in 1977 and their second album, "Give 'Em Enough Rope" in 1978. Later, it became the opening track of the US version of their debut album.
The recording sessions at CBS Studios London in late 1977 were marked by tension, reportedly due to a significant argument between Mick Jones and bassist Paul Simonon following the conclusion of the Get Out of Control tour. With the band members not on speaking terms, Joe Strummer had the challenging task of acting as an intermediary, shuttling between Jones and Simonon to relay instructions on how the song should be played.
The lyrics echo the rebellious spirit of their first album, urging listeners to break free from the confines of mundane jobs and societal expectations. The song encourages seizing the moment and not letting anything hinder your pursuit of a fulfilling life. Additionally, it defiantly addresses critics of the band, asserting that their resolve cannot be shaken by naysayers.
The main guitar riff draws inspiration from the iconic riff of The Who's "I Can't Explain". This riff served as a foundation for several of their compositions such as "Guns on the Roof" and "Capital Radio”.
THE CLASH - CLAMPDOWN / THE GUNS OF BRIXTON
Released: December 14, 1979, single: 1980 (Australia)
Album: London Calling
CLAMPDOWN
"Clampdown" is a track by the Clash from their 1979 album "London Calling." Originally titled "Working and Waiting" as an instrumental, it evolved into a song addressing the disillusionment of youth and the call to resist societal norms. The term 'clampdown' encapsulates the oppressive forces of the Establishment, reflecting the reactionary voices of the 1970s advocating for government and law enforcement crackdowns on various social groups deemed disruptive or threatening to the status quo in the UK.
"Clampdown" was inspired by Joe Strummer's view that capitalism posed a threat to humanity, a sentiment sharpened by the Three Mile Island nuclear accident in 1979. This incident, along with other societal issues, fueled Strummer's lyrics, which evolved into a broader critique of the system that forces people to conform and work for oppressive forces. Musically, the song showcases the Clash's diverse influences, blending rock, funk, and disco into a fiery anthem that remains relevant and powerful. It's regarded as one of the standout tracks on their iconic album "London Calling" and remains a highlight of their live performances.
Strummer's impassioned delivery of his motto, "Let fury have the hour / Anger can be power / Do you know that you can use it?" sets the tone for "Clampdown," a song that seamlessly blends punk energy with R&B influences. The opening line, "Taking off his turban, they say is this man a Jew?" is often misconstrued as anti-Semitic. Joe Strummer intended to critique nationalistic stereotypes and irrational suspicion of foreign peoples, particularly in the context of the rise of far-right parties like the National Front. Mick Jones's guitar work during the R&B bridge is reminiscent of Morse code. Topper Headon's precise drumming and Paul Simonon's dynamic bass lines further elevate the song's intensity.
"Clampdown" made its live debut in Minneapolis in September 1979 and remained a staple of The Clash's setlist until their breakup in 1985. The song was beloved by both the band and their fans, earning acclaim for its energetic performances. A notable live recording from the Lewisham Odeon in February 1980 was included on the greatest hits compilation "The Essential Clash." This live footage was also used in the music video for the song and featured in the 2002 documentary film "Westway to the World”.
THE GUNS OF BRIXTON
"The Guns of Brixton" is a track from the Clash's iconic album "London Calling." Bassist Paul Simonon, a native of Brixton, South London, took the lead in both writing and singing this compelling piece. Unlike the typical Clash compositions written by Joe Strummer and Mick Jones, Simonon's contribution added diversity to the band's repertoire. Paul Simonon penned "Guns of Brixton" with a straightforward realization in mind: songwriters often rake in more earnings than their bandmates. The song delves into the gritty underworld of Brixton, portraying the struggles and tensions of its inhabitants, with a distinct reggae influence reflecting the cultural backdrop of the area.
"Brixton was the site of race riots in 1981 and again in 1985. This song captures the alienation many citizens of Brixton felt leading up to the riots. The central plot revolves around Ivan, an anti-hero character from the popular film The Harder They Come. In urban South London Ivan navigates a life where survival is paramount, reflecting the tough realities faced by many in Brixton. The lyrics also touch on being on the wrong side of the law ("When the law break in, how you gonna go? Shot down on the pavement, or waiting on death row"), highlighting the precariousness of existence in such an environment."
"The Guns of Brixton" may not have been originally released as a single, but its enduring appeal prompted a re-release in 1990. This revamped version, titled "Return to Brixton" and remixed by Jeremy Healy, breathed new life into the track. Released in various formats including CD single, 7-inch vinyl, and 12-inch vinyl, "Return to Brixton" made its mark on the UK Singles Chart, reaching #57. It's an amusing twist that a typo on the CD sleeve notes led to Paul Simonon's name being misspelled as Paul Simon, inadvertently suggesting a collaboration with the renowned Paul Simon of Simon & Garfunkel fame, despite the latter having no involvement in "The Guns of Brixton." The original version of the song was released as the B-side of “Clampdown”'s Australian single.
It's remarkable how the bassline from "The Guns of Brixton" found new life when sampled in the Beats International hit "Dub Be Good To Me" by Norman Cook, also known as Fatboy Slim. This unexpected resurgence led to Simonon receiving royalties for his bassline, marking a surprising turn of events for his first song. Despite the initial shock, Simonon found it reassuring and even met with Cook to come to an arrangement regarding the sampling. "Dub Be Good To Me" topped the UK Singles Chart in March 1990 for four weeks.
