On November 19, punk legends The Jam released a box set of their six studio albums, each in CD-size records. During their relatively brief life-span (1977 to 1982), The Jam evolved quickly from underground punk icons to a chart-topping household name, all without compromising their integrity and keen sense of experimentation. What better time than now to look back upon and evaluate each of these releases:
In The City (1977) (7/10)
The Jam’s debut was a relatively straightforward collection of short, snappy and abrasive songs. Opener ‘Art School’, recently dusted off by Paul Weller for his solo headline spot at this year’s Latitude Festival, is a standout, as is the title track. Even their attempt at the ‘Batman Theme’ is passable. However, the skilful, innovative Jam that the public came to know and love had only just begun to evolve at this point.
This Is The Modern World (1977) (7/10)
Their second album of 1977, this album contains real evidence of the distinctive ‘Jam sound’ as elements of ’60s R&B and soul creep into the mixture. The title track fizzes with energy, as does their cover of Wilson Pickett’s ‘In The Midnight Hour’. Bassist Bruce Foxton gets a couple of songwriting credits, on ‘London Traffic’ and ‘Don’t Tell Them You’re Sane’. However, much the same as their debut, there’s not quite enough variety to make this a true classic.
All Mod Cons (1978) (9/10)
The point at which The Jam truly achieved greatness, All Mod Cons is universally well-regarded as mod and punk influences sit comfortably together. The piledriving staccato rhythms of ”A’ Bomb In Wardour Street’ and classic storytelling of ‘Down In The Tube Station At Midnight’ are very memorable, but in truth every track here is a gem, from the savage class commentary of ‘Mr Clean’ to the gorgeous acoustic ballad ‘English Rose’. This is essential listening material.
Setting Sons (1979) (8/10)
Critical and commercial favour continued on Setting Sons, containing their breakthrough single ‘The Eton Rifles’, featuring more of Weller’s scathing social commentary. Most striking is Foxton’s ‘Smithers-Jones’, a string arrangement that sticks out like a sore thumb. The paranoia of ‘Private Hell’ and the use of a recorder on ‘Wasteland’ demonstrate that the Jam were preparing to depart from their punk influences in favour of a broader sonic palette.
Sound Affects (1980) (8/10)
Post-punk influences are near the fore in this varied collection. It contains the band’s second #1 single ‘Start!’ which cheekily steals the exact rhythm from the Beatles’ ‘Taxman’. Other highlights include ‘Music For The Last Couple’, penned by the entire band, the psychedelic of ‘Pretty Green’ and the stunning ‘That’s Entertainment!’, perhaps the most enduring song of Weller’s entire career.
The Gift (1982) (6/10)
The Jam’s final album, and their only one to reach #1, is a rather mixed bag. A number of ill-advised funk and jazz-tinged experiments mix in with some of Weller’s finest moments. The clear standout is the unstoppable Supremes-esque juggernaut of ‘Town Called Malice’, but ‘Carnation’ and ‘Ghosts’ are also brilliant. The band split due to artistic differences by the end of the year, much of this precipitated by Foxton and Rick Buckler’s resistance to Weller’s experimentalism.
Words: Ed Biggs