AnyBlogDotCom: Paul Weller album by album including The Jam and The Style Council

Paul Weller is highly respected and very influential. The Jam were one of the most successful bands of the late 70s, delivering competent and commercial mostly high energy RnB singles that constantly made the charts. His success was built around his ability to write catchy pop songs with an edge. His influences were Dr. Feelgood, The Who, The Small Faces, and The Kinks. While he was not as earthy, or as ambitious, or as wide ranging, or as cutting edge as those bands, he could certainly deliver thoughtful, quality RnB pop songs that, as with his influences, spoke to young audiences. While for most, the music of The Jam was not really distinct from the spit covered anarchy of late 70s punk rock bands, Weller was focused on a tighter, cleaner image of smart clothes, self-pride and self-determinism, and of writing songs of social observation and commentary rather than alienation and abuse. He leaned on the imagery of the Mods of the Sixties, and is credited with inspiring the Mod revival of the late 70s / early 80s - The Jam originated the interest, then the revival really got going with the 1979 release of the film Quadrophenia at the same time as other Mod bands, influenced by The Jam, such as The Lambrettas (formed 1979), The Merton Parkas (formed 1978), and The Chords (formed 1978), starting releasing records. As he moved away from RnB and became more interested in soul and jazz, he formed The Style Council, a soul and pop-jazz band that had a significant influence on early 80s music, being the main catalyst for the sophisti-pop style. The band couldn't maintain commercial or critical interest, and eventually his record label dropped him. He broke up The Style Council and formed The Paul Weller Movement, releasing "Into Tomorrow" on his own Freedom High label. It reached 36 in the charts, which led to a new record contract, and the start of his critically acclaimed solo career.

Wikipedia:

Paul Weller (born 25 May 1958) is an English singer-songwriter and musician. Weller achieved fame with the punk rock/new wave/mod revival band the Jam. He had further success with the blue-eyed soul music of the Style Council (1983–1989), before establishing himself as a solo artist with the album Paul Weller in 1992.

Despite widespread critical recognition as a singer, lyricist, and guitarist, Weller has remained a national, rather than international, star and much of his songwriting is rooted in British culture. Many of his songs with the Jam had lyrics about working class life. He was the principal figure of the 1970s and 1980s mod revival, often referred to as "The Modfather", and an influence on Britpop bands such as Oasis.

The Daily Telegraph said of Weller: "Apart from David Bowie, it's hard to think of any British solo artist who's had as varied, long-lasting and determinedly forward-looking a career." The BBC described Weller in 2007 as "one of the most revered music writers and performers of the past 30 years". In 2012, he was among the British cultural icons selected by artist Sir Peter Blake to appear in a new version of his most famous artwork – the Beatles' Sgt. Pepper's Lonely Hearts Club Band album cover – to celebrate the British cultural figures of his life. He has received four Brit Awards, winning the award for Best British Male twice, and the 2006 Brit Award for Outstanding Contribution to Music.

AllMusic:

As the leader of the Jam, Paul Weller fronted the most popular British band of the punk era, influencing legions of English rockers ranging from his mod revival contemporaries to the Smiths in the '80s and Oasis in the '90s. During the final days of the Jam, he developed a fascination with Motown and soul, which led him to form the sophisti-pop group the Style Council in 1983. As the Style Council's career progressed, Weller's interest in soul developed into an infatuation with jazz-pop and house music, which eventually led to gradual erosion of his audience -- by 1990, he couldn't get a record contract in the U.K., where he had previously been worshiped as a demigod. As a solo artist, Weller returned to soul music as an inspiration, cutting it with the progressive, hippie tendencies of Traffic. Weller's solo records were more organic and rootsier than the Style Council's, which helped him regain his popularity within Britain. By the mid-'90s, he had released three successful albums that were both critically acclaimed and massively popular in England, where contemporary bands like Ocean Colour Scene were citing him as an influence. Just as importantly, many observers, while occasionally criticizing the trad rock nature of his music, acknowledged that Weller was one of the few rock veterans who had managed to stay vital within the second half of his career.

The Jam

In The City (May 1977)

Blistering high energy debut which came out in the same year that punk became popular, so energetic new young bands were automatically classed as punk. The music is the same as punk - British RnB - but without the clothes style, the attitude, or the anti-establishment lyrics. This was music and approach on the same level as Dr Feelgood and other such pub rockers. Weller insisted that the band were Mods and (assisted later by the 1979 release of the film Quadrophenia) created the Mod revival of the late 70s / early 80s.

The stand out track is "In the City". A good rollicking album, with youth and energy on its side, but perhaps lacking the scorching guitar and heavy menace of Dr Feelgood. It feels like a thin, quavering debut, though that is part of its appeal. Fresh, young, naïve, but exciting. What is interesting is not that the young Weller is leaning on the Sixties British RnB / powerpop acts like The Who, The Small Faces, The Yardbirds, etc, but that he's also touching on the soul-feel and melodies of Northern Soul and Motown, such that there is a similarity between some tracks on this album and The Ramones debut, though The Ramones also hooked into the sound of Phil Spector and bubble-gum music, so have a richer and more interesting sound. Weller would lean increasingly on the soul and jazz elements of the early Mod movement, until he disbanded The Jam to found The Style Council along more smooth, cool, jazzy lines. But until then, there was this melodic energy.

The album spent 19 weeks in the charts, peaking at 20 in May 1977.

"In The City" was released as a single, with "Takin' My Love" as the b-side. It reached 40 in the charts in May 1977.

Released	20 May 1977
Recorded	March 1977
Studio	Stratford Place, London, W1
Genre	Mod revival
Length	32:02
Label	Polydor
Producer	Vic Coppersmith-Heaven Chris Parry

All tracks by Weller unless noted.

Side one
No.	Title	Length
1.	"Art School"	2:02
2.	"I've Changed My Address"	3:31
3.	"Slow Down" (Larry Williams)	2:39
4.	"I Got By in Time"	2:07
5.	"Away from the Numbers"	4:03
6.	"Batman Theme" (Neal Hefti)	1:31

Side two
No.	Title	Length
1.	"In the City"	2:19
2.	"Sounds from the Street"	3:14
3.	"Non-Stop Dancing"	2:28
4.	"Time for Truth"	3:10
5.	"Takin' My Love"	2:15
6.	"Bricks and Mortar"	2:37
Total length:		32:02

Wikipedia
AllMusic: 9
Score: 6

"All Around The World" (July 1977). Non album single, released with "Carnaby Street", a Bruce Foxton song. The single remained 11 weeks in the charts, peaking at 13 in July.

This is The Modern World (Nov 1977)

Sharper, darker, more considered and more mature than the debut, though less exciting. Stand out track is "This Is The Modern World". It's a workable album, though fairly thin. Listenable rather than classic.

The album was less popular than the debut, only spending five weeks in the charts, and peaking at 22 in Nov 1977. It is not highly regarded.

"The Modern World" was released as a single. It spent seven weeks in the chart, peaking at 36 in Nov 1977. The B-side was a live medley of "Sweet Soul Music", "Back In My Arms Again", and "Bricks and Mortar". Making even more clear Weller's interest in Sixties soul.

Released	18 November 1977
Recorded	25 August – 21 September 1977
Studio	Basing Street Studios, London
Genre	Mod revival
Length	31:19
Label	Polydor
Producer	Vic Coppersmith-Heaven Chris Parry

All tracks are written by Paul Weller, except where noted.

Side one
No.	Title	Writer(s)	Length
1.	"The Modern World"		2:31
2.	"London Traffic"	Bruce Foxton	1:49
3.	"Standards"		2:29
4.	"Life from a Window"		2:52
5.	"The Combine"		2:20
6.	"Don't Tell Them You're Sane"	Bruce Foxton	3:40

Side two
No.	Title	Writer(s)	Length
1.	"In the Street, Today"	Paul Weller, Dave Waller	1:31
2.	"London Girl"		2:40
3.	"I Need You (For Someone)"		2:41
4.	"Here Comes the Weekend"		3:30
5.	"Tonight at Noon"		3:01
6.	"In the Midnight Hour"	Steve Cropper, Wilson Pickett	1:54

Wikipedia
AllMusic: 6
Score: 5

"News of the World" (March 1978). Non-album single, written by Foxton, released with "Aunties and Uncles", and "Innocent Man". It spent 8 weeks in the charts, peaking at 27 in March 1978.

All Mod Cons (1978)

A stronger album than Modern World, with Weller adding the Kinks to his influences, covering "David Watts" with grace and power, making it sound like a Jam song, and producing his first classic song, "Down in the Tube Station at Midnight", even if the lyrics are a little awkward and false in places. It would have been more telling and effective if he hadn't made the central character a middle class figure with a wife at home pouring wine, as that didn't really relate to the mostly young, working class people who made up most of the fans at concerts - though perhaps this was Weller aiming for a wider audience. However, the song is a classic, and the album, despite occasional weaknesses, is a good one.

The album spent 17 weeks in the charts, peaking at 6 in Nov 1978.

"David Watts" was released as a single before the album was out, with "'A' Bomb In Wardour Street" as the b-side. It spent 15 weeks in the charts, peaking at 25 in Aug 1978. Foxton sang the lead. It's a powerful version of The Kinks song. The Jam own this. And, along with The Pretenders, awakened the interest of an otherwise limited and blinkered youth mob, to the music of Ray Davies.

"Down in the Tube Station at Midnight" was released as a single the month before the album was out. B-side was non-album tracks "So Sad About Us" (The Who cover) and "The Night" (by Foxton). It spent 7 weeks in the charts, peaking at 15 in Oct 1978.

Documentary on the making of Mod Cons.

Released	3 November 1978
Recorded	4 July – 17 August 1978
Studio	RAK (Upper London) Eden Studios
Genre	Mod revival
Length	37:28
Label	Polydor
Producer	Vic Coppersmith-Heaven

All songs written by Paul Weller except as noted.

Side one

"All Mod Cons" – 1:20
"To Be Someone (Didn't We Have a Nice Time)" – 2:32
"Mr. Clean"* – 3:29
"David Watts" (Ray Davies) – 2:56
"English Rose"** – 2:51
"In the Crowd" – 5:40

Side two

"Billy Hunt" – 3:01
"It's Too Bad" – 2:39
"Fly" – 3:22
"The Place I Love" – 2:54
"'A' Bomb in Wardour Street" – 2:37
"Down in the Tube Station at Midnight" – 4:43

Paul Weller – guitar, piano, keyboard, vocals
Bruce Foxton – bass, vocals
Rick Buckler – drums, percussion

Wikipedia
AllMusic: 10
Score: 7

"Strange Town" (March 1979). Non-album single, sold with the non-album "The Butterfly Collector". A solid single that spent 13 weeks in the charts, peaking at 15 in March 1979, and showed Weller and the band really getting into their groove. Though it's not a stand out track, everything about it is sharp and impressive - good lyrics, good production, good music, well played. Fully in tune with 1979, and an influence on other bands then and since.

"When You're Young" (Aug 1979). Non-album single, sold with a Foxton written "Smithers-Jones" in its original (and better) non-strings version. It spent 7 weeks in the charts, peaking at 17 in Aug 1979. The band are now very smooth and accomplished, and are regularly hitting the single charts with electric pop hits.

Setting Sons (Nov 1979)

This album continues Weller's delving into The Kinks / Ray Davies, with much of the sound and approach of the album reminiscent of The Kinks. There was an intention to make it a concept album (something alien to the Punk movement, who - according to the media, were rejecting all those "overblown" and "pretentious" concept albums of the mid-Seventies, but certainly in line with what The Who and The Kinks were doing in the late Sixties), with a theme of three childhood friends (or sons) who reunite after a war to find they have all changed in different ways; but that concept was never completed, and it's not clear which songs were written for that concept.

"Eton Rifles" is the stand out track, and is a classic song - one of the band's best. The rest of the album is not up to the standard of that single, and they even managed to mess up the otherwise acceptable "Smithers-Jones" with a string arrangement - though the end track, a cover of "Heat Wave", is a breathlessly brilliant version of the song - undoubtedly the best version.

The album spent 19 weeks in the charts, and peaked at 4 in Nov - 2 positions higher than the previous album, and the highest chart position for the band so far.

"The Eton Rifles" was released as a single, with non-album "See Saw" on the b-side, spent 12 weeks in the charts, and peaked at 3 in Nov 1979, their highest chart position so far. The band were now at their peak, they'd had a string of successful singles, and over the next two years were to have four number one hits.

Released	16 November 1979
Recorded	15 August – 10 Oct 1979
Studio	Townhouse Studios, London
Genre	Punk rock power pop
Length	32:31
Label	Polydor
Producer	Vic Coppersmith-Heaven

Side one

"Girl on the Phone"
"Thick as Thieves"
"Private Hell"
"Little Boy Soldiers"
"Wasteland"

Side two

"Burning Sky"
"Smithers-Jones" (Bruce Foxton)
"Saturday's Kids"
"The Eton Rifles"
"Heat Wave" (Holland-Dozier-Holland)

Paul Weller - vocals, guitar
Bruce Foxton - bass, vocals
Rick Buckler - drums

Additional musicians

"Merton" Mick – piano

Wikipedia
AllMusic: 10
Score: 5

"Going Underground" (March 1980) Non-album single, released with non-album "Dreams of Children". "Going Underground", universally acknowledged as The Jam's best song, was intended as the b-side, but a printing error made the single a double a-side. It was in the charts for 9 weeks, and was number 1 for 3 weeks in March 1980.

Weller talking about "Going Underground".

Sound Affects (Nov 1980)

One of the three albums regarded as the best Jam album, this does catch Weller poised between his love of Sixties RnB and his love of Sixties soul. There's a curious blend of scorching power-pop, and reflective ballads - including the Bowie sounding "Monday". Best tracks are the two singles, "Start!" and "That's Entertainment".

The album spent 19 weeks in the charts, peaking at number 2 in Nov/Dec 1980.

"Start" was released as a single with the non-album "Liza Radley" as the b-side. It spent 11 weeks in the charts, reaching number 1 in Aug 1980.

"That's Entertainment" was released as a single in America with a live version of "Tube Station" as the b-side. It reached Number 21 in January 1981 as an import.

Released	28 November 1980
Recorded	15 June–22 October 1980 The Town House, London
Genre	Mod revival, new wave
Length	35:18
Label	Polydor
Producer	The Jam Vic Coppersmith-Heaven

Side one
No.	Title	Length
1.	"Pretty Green"	2:37
2.	"Monday"	3:02
3.	"But I'm Different Now"	1:52
4.	"Set the House Ablaze"	5:03
5.	"Start!"	2:33
6.	"That's Entertainment"	3:38

Side two
No.	Title	Length
1.	"Dream Time"	3:54
2.	"Man in the Corner Shop"	3:12
3.	"Music for the Last Couple" (Rick Buckler, Bruce Foxton, Paul Weller)	3:45
4.	"Boy About Town"	2:00
5.	"Scrape Away"	3:59

Wikipedia
AllMusic: 10
Score: 6

"Funeral Pyre" was a non-album single, with a cover of The Who's "Disguises" as the b-side. It was written by all three band members, and spent six weeks in the charts, reaching number 4 in June 1981.

"Absolute Beginners" was a non-album single, with "Tales From the Riverbank" as the b-side. It spent 6 weeks in the chart and reached number 4 in Oct 1981.

The Gift (March 1982)

This is cool stuff - rather funky, and more in line with what Weller would be doing next with The Style Council than with the rather thin (albeit entertaining) stuff he'd been doing with The Jam. This really gets into a groove. Not loved by fans of The Jam (understandably), this is probably the best album by the band.

The album spent 25 weeks in the charts, peaking at number 1 in March 1982.

"Town Called Malice" was released as a double a-side single with "Precious". It spent 13 weeks in charts and reached number 1 for three weeks in Feb 1982.

"Just Who Is The 5 O'Clock Hero?" was released as a single with a cover of the Motown song "War", and Weller's "The Great Depression" on the b-side. It spent 5 weeks in the chart, peaking at 8 in July 1982.

Released	12 March 1982
Recorded	October 1981 – Feb 1982
Studio	Air Studios, London; PolyGram Studios, London
Genre	New wave mod revival
Length	32:47
Label	Polydor
Producer	Peter Wilson, the Jam

"Happy Together" – 2:51
"Ghosts" – 2:11
"Precious" – 4:13
"Just Who Is the 5 O'Clock Hero?" – 2:15
"Trans-Global Express" – 3:59
"Running on the Spot" – 3:06
"Circus" (Bruce Foxton) – 2:11
"The Planner's Dream Goes Wrong" – 2:19
"Carnation" – 3:28
"Town Called Malice" – 2:55
"The Gift" – 3:08

Paul Weller – guitar, vocals, keyboards on "Town Called Malice", design, art direction
Bruce Foxton – bass
Rick Buckler – drums, percussion

Wikipedia
AllMusic:
Score: 7

"The Bitterest Pill (I Ever Had to Swallow)" was a non-album single, with "Pity Poor Alfie" and a cover of "Fever" as the b-side. It spent 9 weeks in the charts reaching number 2 in September 1982.

"Beat Surrender" was a non-album single, and the last single by The Jam, with "Shopping" as the b-side. An EP version was also released with three covers: Curtis Mayfield's "Move On Up", The Chi-Lites' "Stoned Out Of My Mind", and Motown's "War". It spent 9 weeks in the charts with 2 weeks at number 1 in December 1982.

Dig The New Breed (Dec 1982)

Live album covering the band's career from 1977 to 1982. Lacks atmosphere and consistency. It is an acceptable overview of the band, and a reasonably enjoyable listen, though is not essential, and is below the usual standard for the band. Weller had announced in October that the band were breaking up. They did a final tour, finishing in early December, when this album was released.

The album spent 16 weeks in the charts, peaking at number 2 in December 1982

Released	10 December 1982
Recorded	1977, 1979, 1981, 1982
Genre	British RnB
Label	Polydor
Producer	Peter Wilson

Side one "In the City" (100 Club, London, 11 September 1977) "All Mod Cons" (the Rainbow, London, 13 December 1979) "To Be Someone (Didn't We Have a Nice Time)" (the Rainbow, London, 13 December 1979) "It's Too Bad" (the Rainbow, London, 13 December 1979) "Start!" (the Hammersmith Palais, London, 14 December 1981) "Big Bird" (Eddie Floyd) (the Hammersmith Palais, London, 14 December 1981) "Set the House Ablaze" (the Hammersmith Palais, London, 14 December 1981) Side two "Ghosts" (Bingley Hall, Birmingham, England, 21 March 1982) "Standards" (Reading University, 16 February 1979) "In the Crowd" (the Edinburgh Playhouse, 6 April 1982) "Going Underground" (Glasgow Apollo, 8 April 1982) "Dreams of Children" (Glasgow Apollo, 8 April 1982) "That's Entertainment" (Glasgow Apollo, 8 April 1982) "Private Hell" (Glasgow Apollo, 8 April 1982)

Paul Weller – guitar, keyboards, vocals
Bruce Foxton – bass, vocals
Rick Buckler – drums

Wikipedia
AllMusic: 7
Score: 4

Snap! (1983)

Compilation album released just after the band split up. The Jam were essentially a singles band, and this gathers together the singles plus some non-single album tracks to make for a compelling compilation. Really, this is the best of The Jam, and is all you need. They were not an albums band.

Disc 1

"In the City"
"Away from the Numbers"
"All Around the World"
"The Modern World" (Single Version)
"News of the World"
"Billy Hunt"
"English Rose"
"Mr. Clean"
"David Watts" (Single Mix)
"'A' Bomb in Wardour Street" (Single Version)
"Down in the Tube Station at Midnight" (Single Edit)
"Strange Town"
"The Butterfly Collector"
"When You're Young"
"Smithers-Jones" (Single Version)
"Thick as Thieves"

Disc 2

"The Eton Rifles" (Single Edit)
"Going Underground"
"Dreams of Children" (US Edit)
"That's Entertainment" (Demo Version)
"Start!" (Single Version)
"Man in the Corner Shop"
"Funeral Pyre" (Remixed Version)
"Absolute Beginners"
"Tales from the Riverbank"
"Town Called Malice"
"Precious" (Single Edit)
"The Bitterest Pill (I Ever Had to Swallow)"
"Beat Surrender"

Wikipedia
AllMusic:
Score: 8

Discography

The Jam studio albums

In the City (1977)
This Is the Modern World (1977)
All Mod Cons (1978)
Setting Sons (1979)
Sound Affects (1980)
The Gift (1982)

Best Jam album polls

Sound Affects (1980) 6+6+6+8+8=34 [6]
All Mod Cons (1978) 4+8+4+6+6=28 [7]

Setting Sons (1979) 8+4+8+3+4=27 [5]
The Gift (1982) 3+2+2+4+3=14 [7]
In the City (1977) 2+3+3+1+2=11 [6]
This Is the Modern World (1977) 1+1+1+2+1=6 [5]
Snap! 1 [8]

Dig The New Breed 1 [4]

* AlbumReviewsBlog

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* LastPictureShow

* Diffuser

* Ranker

My order:

Snap! 1 [8]
All Mod Cons (1978) 28 [7]

The Gift (1982) 14 [7]
In the City (1977) 11 [6]

Sound Affects (1980) 34 [6]

This Is the Modern World (1977) 6 [5]

Setting Sons (1979) 27 [5]

Dig The New Breed 1 [4]

Best The Jam songs

Going Underground 26

Town Called Malice 16
That's Entertainment 16

Down In The Tube Station at Midnight 13

In The City 11

The Eton Rifles 8

The Bitterest Pill 5

The Butterfly Collector 5

English Rose 5

Start 4

The Modern World 3

Beat Surrender 3

Absolute Beginners 3

Funeral Pye 3

Carnation 3

Man In The Cornershop 3

When You're Young 2

To Be Someone 2

Ghosts 2

Mr Clean 2

Tales From The Riverbank 2

Dreams Of Children I

Smither-Jones I

But I'm Different Now I

Little Boy Soldiers I

Life From A Window I

Running On The Spot I

Just Who Is The 5 O'Clock Hero? I

All Around The World I
Away From The Numbers I
In The Crowd I

Burning Sky I

Strange Town I

David Watts

Heat Wave

Burning Sky. Little Boy Soldiers, Scrape Away, In the Crowd.

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*ToneDeaf

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Links

* TheJamOfficial

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* Singles/Albums Charts

* George Starostin Jam reviews

Conclusion

Being academic, and examining critically The Jam's output, one could easily say that the band were quite thin. Very commercial, yes, but both unsophisticated and lacking genuine sweaty menace. They were competent rather than accomplished musically, and while Weller could compose careful and ear-catching lyrics and tunes, there was a lack of depth, and certainly a lack of originality. The bulk of his tunes were inspired or leaned heavily on the work of others: The Who, The Beatles, The Kinks, Dr Feelgood, and Motown.

However, what the band offered was controlled, tight excitement. Something matching the energy and rebellion of punk, but without the anarchy, nihilism, messiness, and pointless. The Jam could not match the Sex Pistols for arrogant power nor astonishing lyrics, but they could lay down a great tune, put on an exciting show, and make young working class kids feel good, while pointing them in a direction that offered stability and self-belief.

While much of punk was self-destructive and heading for a dead end, The Jam offered a commercial way forward for young musicians that looked credible and offered authenticity and excitement. The Jam offered power-pop as a credible future - a rebellious, punk tinged but still controlled and melodic power pop.

Weller went on to do more interesting and critically respected work, but nothing he has done since has mattered as much as The Jam. The Jam sparkled and crackled and infused people's lives. The Jam, for a few brief glorious years, were what rock music was all about. A pulsating energy that shone into people's lives and gave joy and meaning and direction.

Summary

[Note: Aspects which go toward final score are given a rough percentage figure of how much that aspect influenced the score. However, some bands may exceed that percentage, particularly if their main focus is in that area.]

Voice/Musicianship (15%)

Yes, voice and musicianship all works effectively - driving the songs forward in a clear and defined manner: energy where it is required, and softness where it is more appropriate. There is nothing especially distinctive or exciting about their playing, and the band never vamped musically - they just got on and did the song, job done. This was a particular focus of, not just punk period bands, but most bands who were not prog-rock or jam bands (like Grateful Dead, Man, or The Allman Brothers), so is not unusual in itself, but does highlight their no-nonsense, no-frills, no extra-effort, no deep thought, just get on and do it attitude and image. It's a little ironic that a band called The Jam, didn't actually jam, but always remained tight and focused, but, at the same time, that the name incorporates the confounding of expectations seems to be in keeping with Weller's character. Anyway, Weller's voice is sharp, and effective, the guitar work spot on, and the rhythm section well judged. They were the band for the songs. So, score

Image/Star quality (5%)
They were working class heroes, so there was no gloss about them. The band were household names, though less so the individuals, other than perhaps Weller. But they were not stars or major headliners. Competent, effective, and increasingly popular in the charts, they were more Status Quo than T. Rex. However, they looked good, and would have inspired many a young band.

Lyrics/Music (20%)
Tricky one this, as the music is very derivative, yet highly effective. The lyrics were often awkward, but never bland. Credit for attempting to write good lyrics, and for wanting to do more than "I love you, yeah, yeah, yeah", but score held back for a lack of authenticity in the lyrics.

Impact/Influence (10%)
From the off they caused a stir. And they caused an even greater stir when Weller broke up the band. They fitted in with punk, rather than drove punk - however, their workmanlike attitude, though derived from Mod and RnB culture, did feed into the post-punk movement. And, of course, they kick-started the Mod revival.

Popularity (5%)
They were more of a hit in the UK than the rest of the world, but for those few incendiary years of their existence they were in the UK singles charts at least two or three times a year, and their albums, especially the later ones, also sold well in the UK.

Emotional appeal (5%)
Raw and gritty, there is something that stirs inside when a Jam song is played. But they had difficultly with emotions beyond primitive excitement.

Authenticity (15%)
There is a awkward artifice about many of the songs, especially the lyrics, yet the image and feel of the band is of a hard working and genuine working class band who want nothing more than to play for their fans. I think there is an authenticity here, there well supported by a healthy respect for commercial appeal and popular success.

Art (5%)
The band were a little too gritty and working class for the middle class notion of art, though Weller did toy with the idea of a concept album, and did try to be a little bit literary in his lyrics.

Classic albums/songs (5%)
The Jam are widely acknowledged as a singles band. There are fans, of course, who insist that either Mod Cons or Sound Effects is a great album, but outside of Jam fans, there are few who accept that view, and many Jam fans themselves are quite happy with the concept of the band being singles focused - especially given that a number of their best songs, including what is universally hailed as their very best - "Going Underground", were non-album singles.

Originality/Innovation (5%)
Cough, cough, splutter.

Legacy (10%)
They were not ground-breakers, though they did refocus attention in a more obvious way than their punk contemporaries on some great music from the Sixties. They were an entertaining and much needed counterpart to the spitting, grumpy, disaffected punks. They retain affection and respect. And they were a minor pop sensation for five brilliant years.

Total: 48/100

The Style Council

Café Bleu (1984)

Paul Weller's next adventure after he broke up the excellent Jam was The Style Council. As with The Jam, Weller takes inspiration from not just an older musical style, but also an older vibe and scene. With The Jam he recreated the mod scene of the Sixties along with the maximum R&B (or power pop) approach of Sixties British bands; with The Style Council he recreated the cool jazz scene of the late Fifties and early Sixties, and in so doing influenced the Eighties sophisti-pop scene.

Wikipedia
AllMusic:
Score: 8 1/2

Our Favourite Shop (1985)

Wikipedia
AllMusic
Score:

Paul Weller

The Paul Weller Movement

"Into Tomorrow" (1991)

Paul Weller (1992)

Released	1 September 1992 (UK)
Genre	Rock
Length	53:36 (UK)
Label	Go! Discs Records 828343 (UK)
Producer	Paul Weller, Brendan Lynch


No.	Title	Writer(s)	Length
1.	"Uh Huh Oh Yeh"		3:13
2.	"I Didn't Mean to Hurt You"		3:27
3.	"Bull-Rush"		4:43
4.	"Round and Round"		4:25
5.	"Remember How We Started"		3:44
6.	"Above the Clouds"		4:13
7.	"Clues"		4:24
8.	"Into Tomorrow"		3:07
9.	"Amongst Butterflies"		3:13
10.	"The Strange Museum"	Weller, Mick Talbot	3:17
11.	"Bitterness Rising"		3:53
12.	"Kosmos"		11:57

Steve White - Drums, Percussion
Jacko Peake - Saxophones, Flute, Backing Vocals
Paul Weller - Guitar, Vocals, Bass (1, 2, 3, 4, 5, 6, 7, 8, 10, 11), Keyboards, Percussion
Dr. Robert - Bass (12), Backing Vocals (3,8)
Dee C. Lee - Backing Vocals (3, 5, 11, 12)

Wikipedia

AllMusic:

Score:

Wild Wood (1993)

I like this.

Wikipedia
AllMusic:
Score:

Live Wood (1994)

No.	Title	Length
1.	"Bull Rush / Magic Bus" (Royal Albert Hall, 22.11.93)	5:41
2.	"This Is No Time" (Royal Albert Hall, 22,11,93)	6:04
3.	"All the Pictures on the Wall" (Royal Albert Hall, 22,11,93)	3:59
4.	"Remember How We Started / Dominoes" (Wolverhampton Civic Hall, 9.3.94)	3:58
5.	"Above The Clouds" (Wolverhampton Civic Hall, 9.3.94)	3:55
6.	"Wild Wood" (Wolverhampton Civic Hall, 9.3.94)	3:40
7.	"Shadow of the Sun" (Paradiso, 16.4.94)	10:22
8.	"(Can You Heal Us) Holy Man? / War" (Wolverhampton Civic Hall, 9.3.94)	4:34
9.	"5th Season" (Royal Albert Hall, 22.11.93)	4:51
10.	"Into Tomorrow" (La Luna, 17.4.94)	3:07
11.	"Foot of the Mountain" (Royal Albert Hall, 22.11.93)	6:04
12.	"Sunflower" (Paradiso, 16.4.94)	3:55
13.	"Has My Fire Really Gone Out?" (Paradiso, 16.4.94)	3:51

Wikipedia
AllMusic:
Score:

Stanley Road (1995)

Sounds like Traffic. Good stuff. I really like this. It had a very positive reputation when it came out, and I tried it then, but felt it was too backward looking, and didn't get into it. I am loving it now, though it trails off after a while.

Released	15 May 1995^[1]
Studio	The Manor Studios, Oxfordshire
Genre	Soft rock
Length	52:10
Label	Go! Discs
Producer	Paul Weller Brendan Lynch

No.	Title	Writer(s)	Length
1.	"The Changingman"	Brendan Lynch, Paul Weller	4:02
2.	"Porcelain Gods"		4:51
3.	"I Walk on Gilded Splinters"	John Creaux (Dr. John)	5:24
4.	"You Do Something To Me"		3:38
5.	"Woodcutter's Son"		4:43
6.	"Time Passes..."		4:56
7.	"Stanley Road"		4:18
8.	"Broken Stones"		3:16
9.	"Out of the Sinking"		3:51
10.	"Pink on White Walls"		2:39
11.	"Whirlpools' End"		7:11
12.	"Wings of Speed"		3:13

Paul Weller – Vocals (1–12), Guitar (1–7,9-11), Piano (1,2,4,6,7,11,12), Shakers (1), Organ (3,5), Percussion (3,5), Novatron (4), Hammond Organ (8,10), Wurlitzer (8,9)
Yolanda Charles – Bass (4,7,9)
Steve Winwood – Piano (5,10), Hammond Organ (5), Wurlitzer (5)
Mick Talbot – Fender Rhodes (8), Pipe Organ (12), Hammond Organ (12)
Carleen Anderson – Back-Up Vocals (1,5,8), Extra Vocals (9), Vocals (12)
Steve Cradock – Guitar (1,2,6), Back-Up Vocals (1,11), Acoustic Guitar (11), Electric Guitar (11)
Helen Turner – Hammond Organ (4,6), Novatron Strings (6,7,9,11), Organ (9)
Brendan Lynch – Cyremin (1,11), Mini-Moog (7), Tambourine (8), Accordion (8), Finger Cymbals (10)
Dr. Robert – Bass (1,2,6,11), Back-Up Vocals (1,2)
Joy Hawley – Cello (12)
Constantine Wier – Voodoo Vocal (3)
David Liddle – Acoustic Slide Guitar (5)
Mark Nelson – Bass (3,5,8,10)
Steve White – Drums (1–11), Percussion (3,5)
Noel Gallagher – Acoustic Guitar (3)