All Mod Cons - The Jam
From the scratch that heralds the 1,2,3,4 count of the title track to the fade out of the Central Line tube bound for Ealing Broadway, every track of
'All Mod Cons' echoes down the years with the refreshing arrogance of youth mixed with the tender frailty and exuberance of first love.
The explosive attack of The Jam's debut album 'In the city' had been swiftly followed up by their second LP 'This is the modern world', which whilst featuring a couple of standout track (The Modern World & Here comes the weekend) had left the majority of crirtics and punters alike wondering if Paul Weller (Lead singer/guitarist & prime songwriter) had what it took to break out of the already tightening constraints of punk orthodoxy.
All Mod Cons not only proved that Weller did have the nous, skill and vision to change direction but that by doing so he could take the late 70's UK music scene by the scruff of the neck and galvanise a whole generation of followers to embrace a musical tradition that went back to the sixties sounds of The Who, Kinks & Small Faces. Whilst at the same time toughening them up for the hardships of Thatcherism and the 80's that were just around the corner.
1. All Mod Cons
The opening track sets the tone perfectly for what comes next. Clipped, purposeful and knowing. A short attack on time wasters and their ilk. No sooner has the clear Rickenbacker cut through than the track's ending feedback segues neatly into...
2. To be someone
What intially seems like a straightforward attack on the hoary old rock gods living on past glories, the boring old rocker of yore now content to piss it all up the wall in the comforting company of cronies and groupies. Actually turns out to be (with the benefit of hindsight)a more compassionate reflection on the transient nature of fame.
3. Mr Clean
Another full frontal attack, this time on a typical 'suit'. Weller's snarling put down of the nine to fiver implies quite clearly that a life of 'getting pissed at the annual office do" is nothing to be proud of.
4. David Watts
A bouncy cover of Ray Davies' Kinks classic. David Watts is the captain of the team, head boy and all round lucky git. The shared Weller/Foxton vocals work well, one of the few examples where a cover version most probably improves on the original.
5. English Rose
Originally regarded as a 'hidden track' by Weller. A soft acoustic ballad that showed a tender side that allowed young punks & mods everywhere to admit that perhaps there was more to girls than just pushing in front of them in bus queues.
6. In the crowd
'In the crowd' was most probably the biggest musical step forward that The Jam had taken to date. An intricate sub-psychedelic track that portrayed the protagonist as an outsider and harked back to their debut album's stand out track 'Away from the numbers'.
Side 2
1. Billy Hunt
Weller's daydreaming anti-Watts gets side two off to a blistering start.
2. It's too bad
Another jaunty song of failing love, carried along on Foxton's poppy bass run.
3. Fly
A second outing for Weller's 12 string acoustic and another hymn to the intoxicating beauty of first love.
4. The place I love
Whether it was about Woking, England or a mythical Albion 'The place I love' is a positively joyous track and another example of Weller aiming to distance himself from the punk elite and "not within a yard of their trendy do's".
5. A-Bomb in Wardour Street
DOCTOR MARTENS A-P-O-C-A-L-Y-P-S-E!!
6. Down in the tube station at midnight
According to Tony Blackburn it was a tawdry celebration of violence. According to everyone else it was The Jam's finest hour!
All Mod Cons was quite simply the sound of swinging London and suburban Surrey being pepped up with an amphetamine surge that knocked all contenders into a safety pin covered cocked hat. With one album they went from middle of the pack to the front of the line and they stayed there (with a couple of wobbles) until Weller pulled the pin in 82 and headed off to a Cappuccino flavoured future!
