16 Tons Tour Europe/rescheduled dates due to Topper’s injury.
Supported by Holly And The Italians and by Spartacus (toaster)

updated 2 July 2004
updated 10 July 2008 - added BBC article & venue pics
updated Match 2024 added lots

Audio 1 - Clash Songbooks 2x LP

gen unknown - Sound 3 - time 1hr 35mins - tracks 30
misses Stay Free

Julie's In the Drug Squad

Audio 2 - full tape

gen unknown - Sound 3 - time 1hr 41mins - tracks 31

Julie's In the Drug Squad


For more information on this go to this thread.


1980 The Clash Performing 'Clash City Rockers' at Hammersmith Palais | Kinolibrary x Don Letts from The Don Letts Archive available to license through Kinolibrary. Clip ref ET16. For commercial projects only. To order the clip clean and high res, or to find out more, visit http://www.kinolibrary.com.

Subscribe for more high quality, rare and inspiring clips from our extensive archive of footage. London, Hammersmith Palais 17th June 1980. The Clash Performing 'Clash City Rockers'. Find more footage from the Don Letts archive here: https://youtube.com/playlist?list=PLK...

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Clash Songbooks LP

This double LP, emanating from Japan was one of the rarer Clash bootlegs appearing in Portobello market in the 1980’s. Appropriately for Clash bootlegs, the then centre for trading was situated in the more down market end of the market, around Ladbroke Grove. It comes in a single sleeve holding two LPs.

Thanks to digital copying, this bootleg is now widely circulating. However, watch out for copies with a poorer quality of sound and one copy is edited (badly) between tracks (overlap mostly) and Stay Free was missing. Older taped copies are several generations down and much poorer.

The LP’s source is a very good indeed audience recording, which although suffering inevitably from some distance problems has a wide range and is clear and detailed. There is a touch of echo and a top end bias, with bass somewhat buried and unfocussed. Some stereo separation adds to the listening enjoyment. A bright, sometimes harsh sound with the guitars captured particularly well. The sheer volume of The Clash creating some distortion but clearly this recording was made with quality semi-pro equipment.

We can hope though that the master recording is reissued on CD in a similar improved form as has happened recently with the 16 Tracks LP.

The double LP contains the whole of a long set which includes the rarely played Revolution Rock and the only source of a Mikey Dread song, played after Armagideon Time.

Bootleg details can be found here

Visit these websites for a comprehensive catalogue of unofficially released CD's and Vinyl (forever changing) or If Music Could Talk for all audio recordings

Discogs - PDF - webpage
Punky Gibbon -
PDF - webpage
Jeff Dove -
PDF - webpage
Ace Bootlegs -
PDF - webpage

For all recordings go to If Music Could Talk / Sound of Sinners

It would be Mickey Gallagher’s last appearance

The 16 Tons tour ends as it begun with Mickey Gallagher back on keyboards and Mikey Dread guesting on the encore (although Mikey was not at the first handful of dates). It would be Mickey Gallagher’s last appearance, the band would return to being a four piece up and remain that way up to Mick’s departure.

They had planned to play their rescheduled London dates at two cinemas in Balham and the Mile End (see link) but these were closed down. The Clash were however finally allowed to play the famous Hammersmith Palais. They had previously tried to play there on previous tours. The Palais with its large unseated dance floor was ideal for Clash gigs, but the management had previously refused due to punk paranoia, fearing Clash fans would wreck the place.

Fortunately an excellent audience recording was made of the second of their two gigs at the Palais, a venue that would be forever associated with The Clash. Indeed, when the old incarnation of the Palais was closed in the 90’s (it has since survived closure and re-opened), the famous sign was appropriately offered to Joe Strummer.

A great set of photograph’s of the 16th June, taken by Pete Still are available to buy through www.concertphoto.co.uk and scans are available on Dave Moon’s excellent site; www.punkrock.me.uk. Photos of this night the 17th are on musicpictures.com and one adorns the cover of the latest edition of Marcus Gray’s book.

Press reviews of the gig include one in the NME by Chris Bohn (see link) and Robin Denselow in the Guardian (see link). Chris Bohn’s is a typical Clash review in the music press at the time; he cannot but help be impressed “.. they do seem to get better, America has obviously helped” But a compliment is illogically twisted; “..as their playing has obviously strengthened with the passing of time, they’ve become less prone to error, and consequently more predictable”. Somehow an acknowledgement that their music has now assimilated their roots has actually made them more musically conservative! He was presumably at the 16th as he quotes Mick as saying before White Man, “Let’s not get too sentimental about this” not heard on this recording.

In contrast Robin Denselow was very impressed; astutely noting“.. they have managed to combine their energy and fury with a fascination for rock history.”


Clash City Collectors | Facebook


The Hammersmith Palais

The Hammersmith Palais on Shepherds Bush Road was built in 1919 and hundreds of marriages and subsequent little Londoners must have resulted over the years after a dance across the Palais ballroom! A famous London landmark in the jazz and swing band era, it became popular again in the 70’s and 80’s as a seat less venue (with balconies and bars at the side) where you could dance and move to live music, in contrast to its conservative, all seated neighbour, the Odeon up the road.

Joe, of course in 76/77 attended a reggae show there with Don Letts, which became the inspiration for The Clash’s generally accepted greatest song.

The Palais recently narrowly escaped extinction but has reopened as the Po Na Na nightclub with an association strangely enough with school disco.com

strong; powerful and intense

This recording is another from the European, final leg of the 16 Tons Tour that demonstrates that this was one of the very best periods for Clash performances.

All the performances are strong; powerful and intense but also full of invention and depth.

“Lets get it all away, lets get it started” shouts Joe, then the usual 3 song opening assault, particularly strong tonight with some great playing from Mick.

Time for a collective pause for breath next on Jimmy Jazz; “Like to introduce Micheal Gallagher on the hawkeye!” Pictures of Mickey’s keyboards from the show show a wooden cabinet resembling some sort of 15th century harpsichord! Joe adlibs a plenty in the song as usual, “he said suck that so I sucked!” but the sound quality is not good enough to hear them clearly.

The rarely performed Revolution Rock next; “This a song recorded by Williams (Joe getting mixed up, Armagideon Time being Williams, Revolution Rock, Edwards & Ray) entitled I’m so pilled up that I rattle!” Joe adlibs again managing to get in a reference to Gunga Din! Mick’s lead guitar dominates, leaving little space for Mickey’s keyboards to come through.

Julie's Working For The Drug Squad, obviously a band favourite returns, with the band especially tight and inventive. Then an annoyed Paul says during the guitar swop before Guns of Brixton “Give us a fuckin’ chance!” Mick plays layers of effects heavy guitar over the extended ending.

Mick plays a great solo on London Calling but it’s an excellent Spanish Bombs that really showcases his talents. “I think since we’re here we’d like to pause a moment and do this here song, its entitled midnight to six” prefaces a strong White Man In Hammersmith Palais.

Next highlight is Police and Thieves, (the Hit The Road Jack intro if played is edited out) Mickey adds swirls of organ to a strong if not exceptional performance. Wrong 'Em Boyo makes a welcome return to the set and Clampdown is very powerful. The charge through to the encore starts with an intense English Civil War (Joe in great vocal form and Mick’s playing especially powerful), and continues in similar form through I’m So Bored with the USA and Complete Control.

Armagideon Time begins the first encore; “Like to introduce Mr Michael Campbell, Dread at the Controls”. Mick’s guitar was sporting a ‘Dread At The Controls’ sticker on it at the time. Mikey toasts in the gaps between Joe’s vocals, and in the vocal screams/cries Joe out volumes Mikeys! At the end of the song Mikey sings solo on a song, normally given as Rockers Galore but this is a different song. Mikey does sing a section of Rockers Galore in the latter part of Bankrobber.

After the reggae interlude it’s back to punk rock with a vengeance! An intense Tommy Gun leads into the always stand out Capital Radio, complete with the current variation on the intro. Joe screams out London’s Burning and the encore comes to a breathless finish.

The packed Palais audience called the band back for a second encore of 1977 favourites; Janie Jones, What's My Name and Garageland. No White Riot though tonight and its playing would become increasingly rare again in future live performances, which now took an unprecedented break of nearly a year.

Thread with lots of comments from those who were there.

Saw Ellen Foley backstage

Hi, I was at this show and after the show was over I hung around to try to meet the band before being thrown out.

Unfortunately a large group of Japanese photographers taking group pictures of the band put a stop to that.

While waiting, I saw Ellen Foley hanging around in the back of the Palais.

Bruce Snively, Bored in the USA (Florida)

BBC: White Man's Blues

Link or archived PDF

The Hammersmith Palais, which closes this week, was immortalised by The Clash's (White Man) In Hammersmith Palais, a song Joe Strummer ended his gigs with right up to his death in 2002. But what's the song all about?

The Britain of The Clash is no longer with us. "I live by the river" was the clarion call of the dispossessed in their 1979 hit London Calling; nowadays, it's the boast of a Thameside double-mortgage condo-dweller.

And the scene of the previous year's (White Man) In Hammersmith Palais is now to be demolished for an office-and-restaurant complex.

In 1919, a former tram shed in west London became the Hammersmith Palais De Danse, the beginning of thousands of nights of jazz, swing, pop, rock, bhangra and ska - as well as the School Disco phenomenon.

And it's a reggae all-nighter at the Palais that Clash frontman Joe Strummer's describing in the track.

Reggae DJ Don Letts had thought the event would be up The Clash's alley, but the lyric starts from the seditionary Strummer's disappointment at the apolitical poppiness he witnessed - "onstage they ain't got no roots rock rebel".

Strummer had hoped for reggae to be the voice of struggle, like other white British youths before and since - the reason we have the coinage "trustafarian" being that many of them are, like Strummer, public schoolboys and/or diplomats' sons.

But then the lyric takes an unexpected turn into gonzo reportage with a cast including Robin Hood, Paul Weller and Adolf Hitler. What it's "about" depends on who you ask: the death knell of punk? A call for racial unity? An attack on gun culture?

This ambiguity was unlike punk's previous stark messages - Tom Robinson saw it as The Clash realising that they could "afford to admit the contradictions that we all face."

Certainly, there's disillusionment and fear of futility in there. The Jam take a pasting for their off-the-peg jackets and "turning rebellion into money" (a barb some thought was literally rich from a band signed to CBS for £100,000) and the new "solution" proposed ("Why not phone up Robin Hood and ask him for some wealth distribution?") strikes the same ambivalent note as the various versions of The Beatles' Revolution.

What makes it fun?

There's ambivalence, too, about violence. On the one hand, the White Man is isolated and scared of guns - "please, Mister, leave me alone"; on the other, Strummer took to ad-libbing "and good for you" after the verse about UK punk rockers "fighting for a good place under the lighting" - at least until sideman Mick Jones persuaded him that the band had hosted one too many skinhead invasions-cum-bloodbaths.

So the White Man sees a problem, but can't tell what to do. How is a song about isolation and confusion so well loved, so often covered, and so much fun?

The answer's partly given in another piece of onstage patter - Strummer liked to introduce the song with the advice "for this one, you move your arse sideways instead of up and down."

Sonically, this was a new noise from "a big fat riff group", as Strummer described the 1976-77 Clash.

Phased hi-hats, acoustic guitars, harmonica and backing vocals play off the "sideways" reggae rhythm - it's undeniably a London song, but it's a London where ska and hippies and punk and rock melt into one another - and so there's playful joy there too, clearer in the music than in the words.

Punk's Gettysburg

What we get from the lyric is a journey. Early on, Strummer despairs that the "many black ears" are listening to pop rather than a rebel message. Then, as if anticipating Don Letts' later rejoinder that for Jamaicans, "the ghetto is something you get out of", he weighs up the pros and cons of armed resistance, gives up on his fellow punks, and gets a rise out of himself, "the all-night drug-prowling wolf who looks so sick in the sun".

What makes White Man stand out is that the journey carries on after it 4'01" are up. Former NME journalist Danny Baker calls it "punk's Gettysburg Address" - and while the UK has changed, this song has weathered better than some of punk's starker 45s.

In 2007, modern-day Strummers lambast hip hop for being more interested in bling than in civil rights, "punk" groups are far faker than they were in 1979 and still the "youths" haven't agreed on a "solution". °La lucha continua! - solidarity over time - as the South American Strummers say.

The wrecking ball is still headed for the Palais, though - and with the London Astoria going the same way, there's a lot less space for a certain kind of gig: the kind between the pub backroom and the pocket-emptying stadium event.

Punks may be cheered that (White Man) In Hammersmith Palais will echo around the shell for a while, following a farewell gig from The Good The Bad And The Queen with The Clash's Paul Simonon on bass. Don Letts is DJing, Mick Jones is expected - and Joe Strummer? He won't be there for obvious reasons, but perhaps he'd have had more fun at this concert than at the one that spawned the song.

Smashed Hits is written by Alan Connor

Comments on above BBC article

The last gig at the Palais is actually by the Fall on Sunday; the true inheritors of Strummer's mantle. Albarn's supergroup venture would have left him cold, I suspect.
R. Totale, West London

That song is a legendary, iconic song that i have heard well over a hundred times and i will listen to a hundred more. that clash are the greatest band to have ever lived. rest in peace joe strummer 1952-2002
Joe Wilson, Aylesbury

Actually the line "they've got Burtons suits they think it's funny, turning rebellion into money" was aimed at Power Pop groups such as the (long forgotten) Pleasers and Advertising who were being hyped up by sections of the music press at the time as "the next big thing" rather than the Jam. That's according to an interview that Strummer gave to the NME at the time.
jimmy , Salford, UK

It's interesting to see how attitudes have changed and yet, at the same time, remained exactly how they were when this song was written. Everyone still complains about the violence, the 'youths', the drugs and everything else, and yet we still do nothing about it. The fake bands are still outselling the bands with a harder message and yet the fake bands will be the ones that are forgotten sooner. Joe was one of the great preachers of his era, and although some of the Clash's songs were very bleak, he still had enough honesty to say 'we're making money from this'. Hopefully his songs will be remembered for the a long time yet.
Heather, Wolverhampton

Yet another piece of history being detroyed for the benifit of the few! and a clear indication of how society is still going head long into total meltdown in regards to entertainment enjoyment by those who enjoy a different culture of music.
Mike gregory, Reigate

The venue Strummer sang of attained a mythic status quite quickly after he penned the song, but the type of gig and event he went to there was already long over more than 25 years ago. So whether it is torn down or not doesn't really matter me,(nor to the majority of music and Clash fans I suspect)because never having been to the Hammersmith Palais, I only have a snapshot of what it was like in my head at that point in time thanks to Joe. I doubt very much whether it was actually ever like that or would have been if I had seen a gig there. If bands still wanted to play there and fans still wanted to see them, promoters would be clamouring to book it and it would be thriving. This is not as much of a kick in the teeth as say CBGBs in NYC being re-developed. It was still breaking new bands and still held the magic and appeal of the legendary 75-77 era, when it was re-developed last year.
MikeB, Dundee

Reply to David Ely - Yes mate Joe Strummer was one of those middle class punks, but bless him anyway he was a good musician and social commintator. Rest in peace Hammersmith Palais - expensive appartments going up in its place?
robert martin, Glasgow

There will be some other Hammersmith Palais. Rebellion has more energy than conformity. Long Live Those Who Are Not Like Me! (Seriously!).
Nigel Macarthur, London, England

It's just a song, a very good one. Why do people always have to read politics into music. Just enjoy it for what it is, entertainment.
Bob, uk

The Hammersmith Palais is also the subject of a song by a short-lived punk-rock group featuring former Hanoi Rocks singer Michael Monroe. Their name? Demolition. Does anybody else see the irony?
Ian, Dundee

Saw The Stranglers there in 1979 and a big shame it's being torn down but The Clash being held up as an iconic sybol for mentioning the name of a venue in music they "ripped off" from another generation - what did they know! Anyway, as the classic cliche goes: "All there songs do sound the same".
Dominic Maher , London

Following on from Heather's very well-made point, it's funny that 30 years on, people are still discussing Clash lyrics. At the time we used to sit around for hour discussing them. Well, first trying to decipher them, then discussing them.
Adrian, London

Mr Connor and the comments are very indicative of how self-centred and navel-contemplating are a particular age group. The Hammersmith Palais was a wonderful social centre to help people feel better about their hum drum lives: they could go out and dance. Then later it was where real bands could play rather than the derivative noise makers like Clash, bands like the most famous British and American jazz musicians. I am pretty sure the Beatles first headlining concert in London was there in December, what, 1964? or 1963? I know the Yardbirds played before them and played the Beatles off the park. Some fellow from New Jersey played his first concert in England there; Joe Cocker came back to life there in, perhaps, 1982. I saw the Rumble in the Jungle there, live, when stiff 50 year old City Slickers in pinstriped suits and navvies like me hugged each other in tears when Ali won. This is history!
Andrew Johnston, Boston USA

Saw my first ever concert at The Palais - The Undertones A great venue which will be sadly missed.
Mike Jones, Windsor England

Oh come on people! This is the Hammersmith Palais we're talking about. Whatever glorious days it might have known have, in recent years, largely given way to old-skool garage and harcore raves and... School Disco! The latter's only worthwhile contribution to music having been to set new standards for irony in pop music, as thousands of people almost young enough to be still wearing compulsory school uniforms from 9am-3.30pm (whilst resenting it and trying to modify it) danced around in a school uniform to tracks they are too young to remember in the name of nostalgia that they won't appreciate for another decade. The fatc that they are being tricked into conforming with this uniform mentality to a few 80s anti-conformist punk hits, in the very venue where their parents saw the bands live is just the icing on the cake.
Alex Blanco, Hammersmith & Fulham, London

Never went to the palais, but the song was the Clash's best - sheer brilliance. Joe may be gone, but what a legacy he left.
Ken, Brussels

All this "right on" ageing punk stuff is OK; but what about Motorheads "No Sleep till Hamersmith" Tour Album.
Chris Toms, Kirkbride Cumbria

Many a great nite spent a the Palais.Went to my first gig their ( without telling my mum & dad )Good Times!!!! All the old haunts of my youth are sadly disappearing.!!!
Angela Maisey, London

Saw Talking Heads there in 1980 supported by U2! Haven't been back since but I'll be there on Sunday for the last Palais gig!
J. Temperance, NW Essex

RE: Hammersmith Palais It shouldn't be all about the Clash. Wot about the days in the Palais when it was Joe Loss and his trio of crooners, Larry Gretton, Ross McManus and Rose Brennan, very likely the greatest compendium in live appearance. No moshing then. I remember that I spent every Wednesday night along with hundreds of other young folk swinging and jiving and swaying and hugging!
Dickie, NY USA

"Motorhead's 'No Sleep 'Til Hammersmith' album"...? Some of you are confusing the Palais with the Hammersmith Odeon - Doh!
Alan G, London

Sadly people start to believe things that are not true. Whilst Andrew in Boston would like to think that Bruce made his debut at the Palais, it was actually down the road at the Hammersmith Odeon.
Neil Osborn, London

The Television Personalities song Happy Families includes the words (quoted from memory: "Mr & Mrs Strummer are having a party
to celebrate the birthday of their baby
everyone's invited, don't be late
half past eight, Hammersmith Palais"

No Sleep Til Hammersmith is about the Odeon, a different venue altogether.
gladhips, London

How sad! I saw James Brown there in 1985, my first trip to London! With all the GOV support of the arts, can't this historic be added to the same subsidy list as the pile of straw across the river? (Shakespeare outdoor theater)
Doug Thoms, NYC, NY

Guardian - Hammersmith Odeon Review

18 June 1980

NME Hammmersmith Palais

28 June 1980 - 1 2

Chris Knowles: The Essential Clash Bootleg Bible
includes this gig



3 excellent photos
virginia turbett - musicpictures.com

Virginia Turbett/Redferns

UNITED KINGDOM - JUNE 17: HAMMERSMITH PALAIS Photo of CLASH and Joe STRUMMER, Joe Strummer performing live onstage, plugging in guitar (Photo by Virginia Turbett/Redferns)

Thread with lots of comments from those who were there.

Did you go? What do you remember?

Info, articles, reviews, comments or photos welcome.
email blackmarketclash



Clash City Rockers
Brand New Cadillac
Safe European Home
Jimmy Jazz
Revolution Rock
Julie's In the Drug Squad
The Guns Of Brixton
Train In Vain
London Calling
Spanish Bombs
White Man In Ham. Palais
Somebody Got Murdered
Koka Kola
I Fought the Law
Jail Guitar Doors
Police and Thieves
Wrong 'Em Boyo
English Civil War
Stay Free
I'm So Bored with the USA
Complete Control
Armagideon Time
Rocker's Galore
Tommy Gun
Capital Radio
London's Buring
Janie Jones
What's My Name

There are several sights that provide setlists but most mirror www.blackmarketclash.co.uk. They are worth checking.

from Setlist FM (cannot be relied on)

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