The Jam Albums (8)
'The Jam at the BBC'
Release Date 5/21/2002
Tracks 57
Label Universal International
See Album Tracklist and Review
What The Critics Say
Amid the plethora of Jam compilations and anthologies issued, the arrival of a full BBC sessions collection was long overdue. Past glimpses into the archive, after all, were never less than illuminating, and the knowledge that the single session (from February 1977) released on a Strange Fruit EP in the late '80s was merely the first of five broadcast between 1977-1981 had long frustrated fans and collectors. The Jam at the BBC doesn't quite answer every prayer. Three discs wrap up four of the studio sessions, together with three In Concert live broadcasts; absent, for who knows what reason, is a mid-1978 session for DJ David Jensen's show, featuring spiky renditions of "News of the World," "The Night," and the then-latest single "'A' Bomb in Wardour Street." Live versions of the first and last named offer vague consolation, but the lack of completeness is irritating. On the plus side, the growth of the band from the deeply indebted post-mod rockers who first emerged in the shadow of punk to the brightly individualistic successors to the throne of classic Kinks and Who is documented with unrelenting precision. The opening blast of eight songs from two John Peel sessions races past in a roar of snarling adrenalin; the first In Concert, from June 1977, likewise. A leap to 1979, however, finds the band furiously pushing the post-punk envelope, as "Eton Rifles" and "When You're Young" place a questing finger firmly on the pulse of late-'70s youth disaffection; skip over to the bonus third disc included with initial pressings of the package, and an hour-long concert broadcast from the same year finds the band juggling ambition and energy with almost untoward enthusiasm. Sandwiched between "Mr Clean" and "Private Hell," "The Butterfly Collector," truly one of Paul Weller's most accomplished numbers, has rarely sounded more fragile. The remainder of the set is devoted to 1981, a session/interview dominated by the unabashed nostalgia of "Absolute Beginners" and reinforced by a note-perfect rendition of "Sweet Soul Music" and a near-Christmas fan club concert that rounds up the best of the band's most recent hits, and peaks with a positively fiery version of the funk workout "Precious." Added to the neo-Two Tone instrumental "Circus" and a dirty grind through "Pretty Green," the Jam's scarcely remembered flirtation with the fringes of the early-'80s Brit-funk scene comes screaming back into focus. Completed by a booklet rounding up the bandmembers' own recollections of both the band and the BBC, The Jam at the BBC captures a side of the Jam that their core catalog has long cried out for. It might well be the best album they've ever released. ~ Dave Thompson, All Music Guide
'This Is the Modern World'
Release Date 7/1/1991
Tracks 12
Label Polydor
See Album Tracklist and Review
What The Critics Say
As is so often the case for overnight successes, the Jam rush-recorded their sophomore effort during a hurried schedule to capitalize on the debut. This, combined with Paul Weller's various personal distractions and temporary lack of interest, led to less than satisfying results, especially in comparison to In the City. This Is the Modern World can be faulted for borrowed Who licks, pale rewrites of the debut, somewhat clichéd sloganeering, and unfinished ideas, but there were still some moments of inspiration, especially in more introspective Weller songs like "Life From a Window" and "I Need You (For Someone)" -- both songs feature personal sentiments that the debut was clearly missing. This Is the Modern World is a flawed album by Jam standards, but it would certainly have received praise had it been released by another band. [The U.S. edition added the single "All Around the World" and features a different track order.] ~ Chris Woodstra, All Music Guide
What The Critics Say
A last farewell gift from the band in the year Weller spectacularly announced his departure from it, Dig the New Breed is a sometimes rough around the edges live overview of the band's work, from small club dates in 1979 to much larger venues in 1982. Recording quality throughout is quite excellent -- it's not specified whether the band always recorded its shows with such care and just had a mountain of tapes to work through, but the end results are quite enjoyable. It's not a perfect album, admittedly, though that's due in large part to the sheer number of memorable songs that don't show up (something that Live Jam rectified 11 years later). That said, plenty of hands-down winners take a bow. Besides obvious highlights like "Start," "Going Underground," and a superb "That's Entertainment," noteworthy album cuts get well-deserved showcases. "To Be Someone" and its barbed portrait of fame and its pitfalls, the appropriately fiery "Set the House Ablaze," and the tender yet tense "Ghosts," in particular, sparkle. If there's one thing clear about Dig the New Breed, though, it's that the worshipful reputation the group still has as a live act almost without parallel was well founded. Weller's sharp, barked passion shot through with yearning emotion is as strong here as on the Jam's best studio work, and as a unit the three players just shone, tightly wound, explosive, giving the melodies the full-bodied roar they deserved. The inclusion of horn sections and other musicians later sometimes cause the core band to get a bit lost -- when it's just the three, they're at their clear best. Weller's liner notes are amusing enough as well (and certainly read a heck of a lot better than the Cappucino Kid nonsense that plagued the Style Council's efforts). ~ Ned Raggett, All Music Guide
What The Critics Say
As good mods, the Jam always had a healthy respect for R&B and soul -- even the first album featured the revved-up Northern soul of "Non-Stop Dancing." With The Gift, however, Paul Weller seems to have become completely absorbed in it, and more specifically, in Stax-style soul with more than a hint of psychedelia à la "Psychedelic Shack." An uneven album marked by overindulgences like the instrumental "Circus" and unnecessarily long songs, The Gift still has no shortage of terrific songs, like the simply sublime "Ghost," "Town Called Malice" (the hit), and the funk workout of "Precious." Weller can obviously do "soulful" -- his voice has never sounded better -- but unfortunately, The Gift, with its excesses and marginal tracks, doesn't show his talents in the proper light. Points for ambition, but ultimately, this is their least consistent effort since This Is the Modern World. ~ Chris Woodstra, All Music Guide
What The Critics Say
Unhappy with the slicker approach of Setting Sons, the Jam got back to basics, using the direct, economic playing of All Mod Cons and "Going Underground," the simply brilliant single which preceded Sound Affects by a few months. Thematically, though, Paul Weller explored a more indirect path, leaving behind (for the most part) the story-song narratives in favor of more abstract dealings in spirituality and perception -- the approach stemming from his recent readings of Blake and Shelley (who was quoted on the sleeve), but more specifically Geoffrey Ash, whose Camelot and the Vision of Albion made a strong impression. Musically, Weller drew upon Revolver-era Beatles as a primary source (the bassline on "Start," which comes directly from "Taxman," being the most obvious occurrence), incorporating the occasional odd sound and echoed vocal, which implied psychedelia without succumbing to its excesses. From beginning to end, the songs are pure, clever, infectious pop -- probably their catchiest -- with "That's Entertainment" and the should-have-been-a-single "Man in the Corner Shop" standing out. ~ Chris Woodstra, All Music Guide
What The Critics Say
The Jam's Setting Sons was originally planned as a concept album about three childhood friends who, upon meeting after some time apart, discover the different directions in which they've grown apart. Only about half of the songs ended up following the concept due to a rushed recording schedule, but where they do, Paul Weller vividly depicts British life, male relationships, and coming to terms with entry into adulthood. Weller's observations of society are more pointed and pessimistic than ever, but at the same time, he's employed stronger melodies with a slicker production and comparatively fuller arrangements, even using heavy orchestration for a reworked version of Bruce Foxton's "Smithers-Jones." Setting Sons often reaches brilliance and stands among the Jam's best albums, but the inclusion of a number of throwaways and knockoffs (especially the out-of-place cover of "Heat Wave" which closes the album) mars an otherwise perfect album. ~ Chris Woodstra, All Music Guide
What The Critics Say
The Jam regrouped and refocused for All Mod Cons, an album that marked a great leap in songwriting maturity and sense of purpose. For the first time, Paul Weller built, rather than fell back, upon his influences, carving a distinct voice all his own; he employed a story-style narrative with invented characters and vivid British imagery à la Ray Davies to make incisive social commentary -- all in a musically irresistible package. The youthful perspective and impassioned delivery on All Mod Cons first earned Weller the "voice of a generation" tag, and it certainly captures a moment in time, but really, the feelings and sentiments expressed on the album just as easily speak to any future generation of young people. Terms like "classic" are often bandied about, but in the case of All Mod Cons, it is certainly deserved. ~ Chris Woodstra, All Music Guide
What The Critics Say
On their debut, the Jam offered a good balance between the forward-looking, "destroy everything" aggression of punk with a certain reverence for '60s beat and R&B. In an era that preached attitude over musicianship, the Jam bettered the competition with good pop sense, strong melodies, and plenty of hooks that compromised none of punk's ideals or energy, plus youth culture themes and an abrasive, ferocious attack. Even though the band would improve exponentially over the next couple of years, In the City is a remarkable debut and stands as one of the landmark punk albums. ~ Chris Woodstra, All Music Guide
