"In The City" by THE JAM - May 1977 UK Debut LP on Polydor Records featuring Paul Weller, Bruce Foxton and Rick Buckler (July 1997 UK Polydor 'The Jam Remasters' CD Reissue) - A Review by Mark Barry...

 

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"...I Was Young...I Was Full Of Ideas...I Was Serious!"

 

"One Two Three Four!" comes the shout at the opening of "Art School" - a theme-setter for The Jam's staggeringly angry debut album.

 

It's 1977 England and the TV's full of - newspapers telling you what to think - and the sound of the streets is unemployment shuffles to grimy pubs where earnest men rail over pints about the state of everything - Paul Weller feeding back his guitar in Polydor Studios towards the end of the song no doubt using every fibre in his body to not smash the damn thing against the wall.

 

I had genuinely forgotten how raw and raucous this slice of British New Wave was - probably the Punkest of all Jam albums. And this remaster from 1997 is just as snotty as their graffiti-scrawl-on-tiles name and Mod clothes. Baby, I changed my address, and I know it's for the best. Well, let’s get to one of Blighty's best...  

 

UK released July 1997 - "In The City" by THE JAM on Polydor 537 417-2 (Barcode 731453741720) is a straightforward CD Reissue and Remaster of their May 1977 debut album on Polydor Records (part of 'The Jam Remasters' Series, see list below) and plays out as follows (32:04 minutes): 

 

1. Art School [Side 1]

2. I've Changed My Address

3. Slow Down 

4. I Got By In Time 

5. Away From The Numbers 

6. Batman Theme 

7. In The City [Side 2]

8. Sounds From The Street  

9. Non-Stop Dancing 

10. Time For Truth 

11. Takin' My Love 

12. Bricks And Mortar 

Tracks 1 to 12 are their debut album "In The City" - released May 1977 in the UK on Polydor 2383 447 and in the USA on Polydor PD-1-6110. Produced by VIC SMITH and CHRIS PARRY - it peaked at No. 20 in the UK (didn't chart USA).

 

An eight-leaf foldout inlay gives PAT GILBERT just about enough room to lay down the Jam-formation basics in his entertaining and informative liner notes of April 1997. The album shifted 60,000 copies, but little of this gives you the impact The Jam had on British kids. Like The Smiths in the Eighties, their driving Dr. Feelgood meets The Clash tunes and sound took fans by storm and engendered cult loyalty that has not dissipated one jot in near 45+ years.

 

The Remastered audio is care of ROGER WAKE who had done Supertramp, Joan Armatrading and The Strawbs for A&M Records. It kicks – take the forgotten wildness of "Takin' My Love" over on Side 2 – all Wilko Johnson madman guitar as Weller sings about being out on a Saturday Night looking for more than Rock and Roll from any young lass unfortunate enough to be in the firing line of his black suit and pin-tie. You also so get the shadow of The Who from early Jam – all that power riffing – but it works – feels exciting. It ends on homelessness and kids wanting a shot at a future – the fantastic "Bricks And Mortar" chiming and screaming at one and the same time. 

 

My only bugbear is the superfluous cover of "The Batman Theme" (a throwaway cut if ever there was one), but The Jam's take on the 1958 Larry Williams classic "Slow Down" is fantastic, capturing all that tune's get-up-and-dance Rock 'n' Roll joy - something that had turned on Weller's heroes The Beatles decades earlier (the Fabs covered it on their UK Parlophone "Long Tally Sally" EP in 1964 and it was also the B-side of the US 45 for the Carl Perkin's tune "Matchbox on Capitol Records in the States - also that country's "Something New" LP).

 

The Jam's 20 May 1977 debut LP was and is such an angry record - a lash-out stab at the state of England in the late 70s. But then were The Jam ever anything else but confrontational on all fronts. Well, in-yer-face or not - "In The City" is raging at the machine with talent, brains and tunes. And when you then think about the near 50-year career to come for Paul Weller that all of us who were there for this explosive beginning have followed ever since - isn't that in-itself, just so staggering. Is it any wonder (whether he hates it or not) that they call Weller The Modfather. I would don the cap if I ever met him on the street.

 

Get this headless horse in your bed and then move on to the next respect...

 

UK CD Titles and Catalogue Nos. in The Jam Remasters Series of July 1997

Six Studio Albums in Release Date Order

Remasters by ROGER WAKE

 

1. In The City (May 1977 Debut LP) - Polydor 537 417-2 (Barcode 731453741720)

2. This Is The Modern World (November 1977) - Polydor 537 418-2 (Barcode 731453741829)

3. All Mod Cons (November 1978) - Polydor 537 419-2 (Barcode 731453741928)

4. Setting Sons (November 1979) - Polydor 537 420-2 (Barcode 731453742024)

5. Sound Affects (November 1980) - Polydor 537 421-2 (Barcode 731453742123)

6. The Gift (March 1982) - Polydor 537 422-2 (Barcode 731453742222)

"Setting Sons: Deluxe Edition 2CD Version" by THE JAM (2014 Universal/Polydor 2CD Remasters) - A Review by Mark Barry...

"...No Match For Their Untamed Wit..."

How do you follow something as beloved as 1978's "All Mod Cons"? You do it with 1979's "Setting Sons" that along with The Clash's "London Calling" probably represent Britain's Punk and New Wave period at its snotty full-throated working-class best. And as a nice boy from a nice part of Dublin - I'm down with that Mister Smithers-Jones (The Jam were huge in Ireland)...

Unfortunately like others who bought and loved the glorious embossed original vinyl LP (Polydor POLD 5028) back in the heady end-of-a-decade days of November 1979 - this December 2014 Universal/Polydor 2CD 'Deluxe Edition' feels like a hamburger instead of a steak. I think a lot of it has to do with the presentation of these newer 'Deluxe Editions' that are minus the plastic slipcases that came with the older variants (gave them a bit of class and the easy-to-crumple digipak within some much-needed protection). But like the "Some Girls" Deluxe Edition from The Rolling Stones which completely wrecked fabulous original artwork (with an equally crappy and costly Uber DE edition to fleece fans) – this one screws up the artwork too and the flimsy exposed card digipak  doesn't do this 4th 'DE' for The Jam any favours either.

Having said all that and whinged like a big girl's blouse - there's good here too. The new 2014 remasters are superb, Pat Gilbert's new liner notes explain the LP's impact really well and the pictured fan memorabilia is impressively in-depth. And on the bonus front you forget just how good those stand-alone 45s were (both sides) and The Jam live is a quite awesome thing to behold (even it this BBC stuff as been released before). Time for some embossed details of our own methinks – let's get to the missing bulldogs and added deckchairs...

UK released December 2014 - "Setting Sons: Deluxe Edition 2CD Version" by THE JAM on Universal/Polydor 0602537946952 (Barcode 602537946952) is a 2-Disc Reissue/Remaster and plays out as follows:

Disc 1 (58:00 minutes):

1. Girl On The Phone

2. Thick As Thieves

3. Private Hell

4. Little Boy Soldiers

5. Wasteland

6. Burning Sky

7. Smithers-Jones

8. Saturday's Kids

9. The Eton Rifles

10. Heat Wave

Tracks 1 to 10 are their 4th studio album "Setting Sons" - released November 1979 in the UK on Polydor POLD 5028 and in the USA on Polydor SD 6249 - Produced by Vic Coppersmith-Heaven - it peaked at No. 4 on the UK LP charts (didn't chart in the USA).

BONUS TRACKS - The Singles & B-Sides:

11. Strange Town

12. The Butterfly Collector

Tracks 11 and 12 are the non-album A&B-sides of their 6th UK 7" single released 9 March 1979 on Polydor POSP 34 (peaked at No. 15)

13. When You're Young

14. Smithers-Jones (Single Version)

Tracks 13 and 14 are the non-album A&B-sides of their 7th UK 7" single released 7 August 1979 on Polydor POSP 69 (peaked at No. 17)

15. The Eton Rifles (Single Version)

16. See-Saw

Tracks 15 and 16 are the non-album A&B-sides of their 8th UK 7" single released 26 October 1979 on Polydor POSP 83 (peaked at No. 3)

17. Going Underground

18. Dreams Of Children

Tracks 17 and 18 are the non-album A&B-sides of their 9th UK 7" single released 14 March 1980 on Polydor POSP 113 (peaked at No. 1)

Disc 2 - Live At The Rainbow Theatre, Finsbury Park, London, December 1979 (59:08 minutes):

1. Girl On The Phone

2. To Be Someone

3. It's Too Bad

4. Burning Sky

5. Away With The Numbers

6. Smithers-Jones

7. The Modern World

8. Mr. Clean

9. The Butterfly Collector

10. Private Hell

11. Thick As Thieves

12. When You're Young

13. Strange Town

14. The Eton Rifles

15. Down At The Tube Station At Midnight

16. Saturday's Kids

17. All Mod Cons

18. David Watts

THE JAM was:

PAUL WELLER - Lead Vocals, Guitar and Principal Songwriter

BRUCE FOXTON - Bass (wrote "Smithers-Jones", all others by Weller)

RICK BUCKLER - Drums

MICK TALBOT - Future Style Council partner for Paul Weller is credited as "Merton Mick" and plays Piano on “Heat Wave”

RUDI - Saxophone on “Heat Wave”

The 24-page booklet tries hard to impress - a centre 2-page spread of concert tickets from the Oakland Auditorium in San Francisco in late April 1979 to the unbridled luxury of the Bridlington Spa in November of that Jam-momentous year. There are trade adverts, NME repros, WORDS magazine covers and other depicted memorabilia alongside some live photos. But every one of the flaps is covered in blurred concert photos that have been colour-tinted and look awful and the Red and Blue CDs themselves with a 'Bulldog' face don't impress much nor resemble the LP - and the Bulldog/Deckchair is missing from the back sleeve. The Inner sleeve that came with original British LPs is bizarrely AWOL and it doesn't seem to occur to anyone to provide basic catalogue numbers for anything like I've done above (and don't get me started on the cost of the desirable but extortionate Uber Deluxe Edition). Still - Pat Gilbert's new liner notes give insights into the sheer pressure Weller was under to top "All Mod Cons" and cement their huge and growing popularity and he gets behind the sheer Britishness of the band and the LP's music - how these angry young working-class men were angry at everything - especially the heartless Establishment of the day - and thereby put a single as physically violent as "The Eton Rifles" up to No. 3. And it does sound better...

I've had the "Direction" box set from 1997 and to my ears there's an improvement with these new KEIRON McGARRY Remasters - and those Bonus Single Sides tagged onto Disc 1 pretty much make it essential in any man's books. I don't have the BBC Sessions stuff so the Live Concert on Disc 2 is new to me. I like it - especially lesser-heard tracks like "The Butterfly Collector" and a storming rant through "Mr. Clean" (from "All Mod Cons"). But you'd have to say immediately - what is there here that would tempt a true fan who has purchased all of this before (docked a star for that)?

There's amazing punch in both "Girl On The Phone" and the stunning "Thick As Thieves" - both walloping your speakers as Paul Weller spits out "...says she knows everything about me..." and "...times are so tough...but not as tough as they are now..." (lets not mention the size of Paul's appendage as he does on the "Girl On The Phone" track). The sheer sonic wallop of "Private Hell" is thrilling - as thrashing as I remember it - and the words just as harrowing and locked into the reality of city living in an unemployed England town - singing about an unrecognisable junkie girl lost in their "Private Hell". When the in-yo-face "Eton Rifles" climbed to No 3 on the back of a Top Of The Pops appearance - the album arrived a fortnight later and didn't disappoint with tracks like the unemployed boys and girls holding hands in "Wasteland" and the equally disarming "Little Boy Soldiers" where Weller rages about picking up a gun to shoot a stranger for Queen and Country because you're a "...blessed son of the British Empire..."

Side 2 opens with a "...taxman shouting because he wants his dough..." in the attacking "Burning Sky" that's followed by Foxton's lone contribution and genuine moment of glory - "Smithers-Jones". The single version we're so used to hearing dropped the strings of the album mix - upped the Bass and plucked guitar notes - but I'm a fan of both versions. "Saturday's Kids" drinks lots of beer and work (if they can) down at Woolworths and Tesco's - dreaming of the Mod weekend and the dancehall (and probably seeing The Jam). I've always thought that their storming cover of the Martha and The Vandellas Motown hit "Heat Wave" is the most fantastic version and somehow bookends an angry LP with a moment of upbeat hope (Rudi on Saxophone).

The Bonus Singles throw Disc 1 into superstar territory. I'm fond of "Strange Town" but I'm always drawn to its brilliant flipside "The Butterfly Collector". I can vividly remember playing this side of the Polydor 45 much more than the A. Both the Single Version of "Smithers-Jones" and the Single Edit of "The Eton Rifles" are friggin' genius - but again your heart goes out to the fab B-side "See Saw" which Weller gave to the Glasgow Mod Band THE JOLT who put it onto Side 2 of their 4-Track "Maybe Tonight" EP on Polydor 2229 215 in June 1979 (a huge collectable piece ever since). As if that's not enough - Disc 1 ends on the undeniable brilliance of "Going Underground" backed with the equally cool "The Dreams Of Children". Both rightly took the No. 1 spot in March 1980 - the first of four number ones for this most British of bands.

True fans will probably feel peeved as their computer's access the Gracenote Name database only to be told that Disc 2 of this supposedly new 2014 Deluxe Edition is called 'At The BBC - At The Rainbow' - Disc 3 of the June 2002 3CD set "The Jam At The BBC" - in other words material that's already been released.  Well at least its newly remastered making killer tracks like "To Be Someone" feel 'huge' and less muddied than before. People who invested money in 'that film' get a ribbing in the acidic "Mr. Clean" - the crowd secretly loving it when Weller says I'll 'nice' up your life. The gig is not audiophile for sure but it captures the raw power of the band in front of a devoted crowd and has you nodding at the quality of song after song.

I suppose there are two ways of looking at this 2014 DE - for fans it's a pain and apart from the improved Audio - something of a pointless exercise. But I'd say get past the naff packaging and concentrate on the music - The Jam in all their working-man's glory. Weller would go onto The Style Council and Solo glory and has pretty much remained at the top of his musical game every since - each release still awaited with an excitement this band engendered almost 40 years ago.

"...Saturday kids play one-armed bandits...they never win...but that's not the point is it..." - Paul Weller sang on "Saturday's Kids" way back in 1979. It seems that in 2016 - not a lot has changed when it comes to reissues for fans. We're still at the grubby hands of fruit machine vendors...