Disco de The Jam: “All the Choice Cuts”

If you're a fan of late seventies/early eighties punk and new wave scenes you are missing a great collection here. Add the word "British" in front of said genre and you probably already own this CD....and probably have all the Jam's albums on vinyl! If you are just getting into this type of music, it is imperative that you add this to your collection. This band was doomed from the get go on this side of the Atlantic because they simply were "too English." Potential American audiences were too busy on line (or queuing- mates!) buying Blondie and Police records so they can pass themselves off as "punkers." They did not have time to figure out what an "Eton Rifle" was or where in the hell Wardour Street was and what did it matter if there was a bomb! It's damn shame. The memory of this band is sustained somewhat by Oasis. Not only do some of their songs reek of influence, but they have always given the Jam shout-outs since their first recordings (that is probably their only saving grace in my eyes everytime the Brothers Gallagher get bad press). If the Who kept their mid-60s sound, chose not to record "Tommy" or pick-the-arena-anthem and Pete Townshend decided that he didn't need a gold-locked pretty boy to sing his songs, you would have the electrified urgency of the Jam. Frontman Paul Weller's slashing guitar and soulful vocals propel every song. He sort of sounds like Steve Winwood on speed. Bruce Foxton's supporting vocal and bass (if McCartney was nicking Winwood's bottle of pills)do nothing less than compliment Weller. Drummer Rick Buckler, completing the trio, is no slouch himself- particularly on "Funeral Pyre." Quite ironic considering the band's peers at the time had contempt for the vituosos that represented the power trio concept before them. If you have been listening to 80s compilations you may have come across their biggests hits (in the U.K., that is) "Town Called Malice" and "Beat Surrender." Although they are great songs, they are merely the stern and bow of a boat that most American alt-rock fans have no clue that they had missed! The depressing thing is that this band broke up in 1982. What is even more depressing is that Paul Weller refuses to play any Jam songs whenever he tours. I wish he would reconsider. Although he is still a great musician and still adored in Britain, his work in the last near two decades- in the Style Council and in the last 8 years as a solo artist, is quite bland in comparison. I still hope one day they can reunite. At this point I will settle for Weller doing an acoustic set on "Sessions at West 54th" and suddenly he decides to bang out the opening chords to "That's Entertainment." This is a great compilation for a great long-gone band from great era in modern music.

The Jam never made it in America and were completely unknown to me until reviewers started namechecking them in seemingly every third Green Day review circa 1994. Discovering them is a richly rewarding experience and this is probably the best place to do it (although "Greatest Hits" has a very similar track list and is more readily and cheaply availible). The record starts in '77 with the Jam as a razor-sharp, mod-influenced punk band and follows the band as growth and experimentation leaves them in almost neo-soul territory by the time they split in the mid 80s. Along the way, one can revel in Paul Weller's genius songwriting and the band's crisp playing--especially Bruce Foxton's spunky bass.

Even 30 years on, every track virtually explodes with tunefulness and energy. I can think of few bands EVER who are simply this much fun to listen to and whose tunes have stayed so fresh for so long. Essential.

I resubmit this review, to link with my current list.

The Jam never cared about making it in America, which is why they are so unfamiliar here. This disc shows the band's progression from abrasive early punk through alternatively bitter and passionate rock to the end, where they branched out into Brit-soul and -funk. The standouts from the early and middle periods are "Going Underground" and "The Eton Rifles", with their punk sound but Mod feel. My favorite cut is their acoustic demo of "That's Entertainment" When I was in London after the Jam broke up, I asked some tube buskers to play it. The last phase, with the toe-tapping "Town Called Malice" and the sad "The Bitterest Pill" are the friendliest cuts to MOR American ears. Their final single, "Beat Surrender" is abso-bleeping-lutely glorious. Strange that Paul Weller broke up the band to continue in this vein, as he never topped it with The Style Council. It's just as well--this was a band about youth. Much more than a period piece, this is a rewarding experience, full of heart, fury, pain, and passion.

Great music. The best of the Jam's music is summarized on this CD and on "The Jam Collection". It's a great set of songs, played with passion and precision.

The Jam never cared about making it in America, which is why they are so unfamiliar here. This disc shows the bands progression from abrasive early punk through alternatively bitter and passionate rock to the end, where they branched out into Brit-soul and -funk. The standouts from the early and middle periods are "Going Underground" and "The Eton Rifles", with their punk sound but Mod feel. My favorite cut is their acoustic demo of "That's Entertainment" When I was in London after the Jam broke up, I asked some tube buskers to play it. The last phase, with the toe-tapping "Town Called Malice" and the sad "The Bitterest Pill" are the friendliest cuts to MOR American ears. Their final single, "Beat Surrender" is abso-bleeping-lutely glorious. Strange that Paul Weller broke up the band to continue in this vein, as he never topped it with The Style Council. It's just as well--this was a band about youth. Much more than a period piece, this is a rewarding experience, full of heart, fury, pain, and passion.