Customer Reviews

In the City

5 star:		(8)
4 star:		(11)
3 star:		(5)
2 star:		(0)
1 star:		(0)

 

 

Really, like ELVIS COSTELLO, the JAM were not actually a punk rock band. Both bands just happened to be makin' their music while punk rock exploded in the UK in 1977. I think it's particularly evident when you listen to this album these 27 years later. To these ears, 'Away From the Numbers' is one of the finest songs ever recorded. Slow build up and memorable refrain.

As with all trios, I'm flabbergasted that they can crank out such full sounding music with just three guys. The WHO, GREEN DAY, the MINUTEMEN, the URINALS and, really, several bands who have 3 instrumentalists and a vocalist are really sorta a trio like BAD BRAINS and CHEETAH CHROME M. Each of those bands, including the JAM, are able to create a whole musical world basically with very strong song writing. They don't need a second guitar or keyboard (which I typically can't stand except like with PERE UBU). The JAM is expert at using dual vocals. Let's face it, Paul Weller is a gifted song writer and musician.

We're just blessed that the JAM existed, particularly, to me, the period of this, their first album, and the second one, This is the Modern World. After that they slowly begin their descent into horns and a Motowny thing till it just ended up splitting up and STYLE COUNCIL revealed Weller's, I guess, musical place he liked to be for many years. No thanks. Gimme this early JAM instead. I met a few punx who'd only heard the later JAM albums and so had neglected to listen to these first two albums (All Mod Cons is actually good as well, not that the two after that are horrid, just, uh, not as straight forward new rock sounding as these early albums). I've had the luxury of listening to this music for over 20 years and all I know is I keep listening to it. There's some live stuff out and it's also excellent. This is one of those bands who could do outstanding studio work and quite good live delivery. I just wish I'd been smart enough to go see them one of the several time they rolled through Southern California in the late 70's/early 80's, but, no, I wasn't bright enough to make the journey to L.A. or see 'em in their one San Diego show (I assume they played here once, I'm not certain).

What I do know is, give these songs a taste from this web site and, if you dig, what? more than power pop? sorta punk but not hardcore? well crafted songs, great harmonizing and strong lyrics that are more than just simple love songs (I think they only did one between these first two albums), well, get this album. They probably have a CD with both these first two albums on it. Go get that, you won't be sorry. Paul Weller said in a recent interview that the JAM were rated in surveys of U.S. music fans, as like the 4th or 5th favorite band from the UK, ever. I'd probably agree with that, maybe 3rd. Cool man. chrisbct@hotmail.com

(...) Although individually I wouldn't rate any of the songs here among the Jam's 10 best, this is my favorite Jam album -- the most cohesive of the lot. Answers the question, "what if you spliced mid-sixties Small Faces/Yardbirds/Who/Kinks onto mid-seventies punk?" All those sixties bands just seem too *slow* after this. Makes me want to play the Yardbirds' "Having a Rave Up" at 45 rpm. Also, "hard" isn't the word here, "sharp" is -- as in tailored suits and razor-cut hair.

Weller was only 18 when this came out, and the lyrics pay homage to youth with an endearing directness and honesty, as in one of my favorites "I Got By in Time" -- "Please tell me if my philosophy's wrong / I've got to know the truth / I don't mean to offend anyone but / You know it's something I do" This is an artist treating his audience with respect instead of condescension. Plenty of punk anger shows through, however, as on the opening track "Who makes the rules that make people select / Who is to judge that your ways are correct / (...) / The TV telling ya what to think." I highly recommend this album -- it's fast, tight and very cathartic.

The Jam's debut effort "In the City" shows a strong Who-style Mod influence through twelve powerful tracks. Although more primative in production than the following albums and lacking the well-crafted introspective songs that would become a Paul Weller trademark, "In the City" is an exciting experience in how varied 'punk rock' can truly be. The rockabilly of "I've Changed My Address", the retro 50's rock of "Slow Down", and the Stax influnence of "Non-Stop Dancing" stretch the limits of the genere and break any monotony. The lyrics are already mature and worthy of note, including the 'bright' "Art School", the punkish "In the City" and the scathing "Bricks and Mortar". Besides taking the jangly Rickenbacker into Vox sound of the early Who, they also cover the "Batman Theme", also present on the Who's "A Quick One". However, this is by no means a simple retread, but a brand new experience, and a sucessful start for a talented and prolific songwriter that deserves more stateside sucess. Well done, guys.

The amazing thing about this record is its deceptive simplicity. It has all the halmarks of punk, 3 chords and attitude, but it has deep intelligence, pop reference and lays the ground work for the true Jam materpieces such as Setting Sons and Sound Affects. It's 1998 and I still listen to this great punk album in my car!

Of all the music I listened to in the late seventies - this album was my favorite! Blows away the Pistols and Clash!

This is the Jam punk style. What I mean the talent and song writing is there but they are playing everything more aggressive and faster and less refined than the next albums because of the times in Britain. I love this album, this is one of their best I like the fury and fast pace.

People remark about how they didn't make it in the U.S.. It's not that their songs were to British. I grew up back then and punk was very much shunned by everybody in the States, there was no punk by any band being played on radio PERIOD! The status quo back then was Journey, Boston, Styx, E.L.O... and if you wanted to go more dangerous you would listen to Led Zeppelin or Pink Floyd. Nobody even had heard of the Sex Pistols except a handful of people. Except for maybe Blonde getting on the airwaves around 98% of the U.S. kids didn't know anything about Punk/New Wave until around 1979 when the B-52s and Devo (both from America) barely trickled in and that was only in California and some of the east coast. The Clash and Elvis Costello were the first musicians to finally get any sort of any airplay around 1980. They were the 2 musicians to slightly break into the U.S.. The Jam did start touring the states around that time and since they were not known and no venues yet for Punk/New Wave bands the Jam toured with the Blue Oyster Cult which was a complete failure. By the time the U.S. radio finally opened up thanks to MTV the Jam were on their last leg. That's the main reason why they didn't make it in the U.S.

Frankly, this cd is underrated. No, it is not quite as good as the Clash or Pistols' debut albums, but it should be given credit for the ENTIRE embodiment of what garage mod/punk rock is. The riffs are simple, everything is stripped down bare, and Paul Weller had yet to learn to sing. What else can one ask for? Of course, this album is also responsible for laying the foundation of the ENTIRE mod revival (Quadrophenia helped) a couple of years later. Four out of five stars simply because not every song is great. Best tracks:Art School, I Got By in Time, Away From the Numbers, and In the City. This albums is ACES!

The saddest aspect about The Jam's meteoric career (a quick six years in Britain) is that nary a rumble was ever heard on American shores. While The Sex Pistols grabbed the headlines (almost singlehandedly defusing the English punk revolution in the process) and The Clash succumbed to American rock stardom, it was The Jam who continued to wave the flag for punk's ideals without falling victim to its excesses.

As one of the Big Three bands to explode out of the punk scene, The Jam dared to retain their worship of the mid-1960's mod movement, right down to their love of Motown, their Rickenbacker guitars, and their matching suits, without ever sacrificing their allegiance to Great Britain (hence, their lack of success in the United States).

While not quite the grand slam of their later albums, 'In The City' showed more than enough musical moxie to make The Jam real contenders for the crown of Britain's Greatest Band. The title track (their first hit), "Away From The Numbers", "I Got By In Time", and "Sounds From The Street" combine Jam singer/guitarist/composer Paul Weller's love of the early Who with the British rhythm & blues style of pub rockers Dr. Feelgood. Weller's worship of The Beatles and particularly Ray Davies of The Kinks guaranteed a Jam song catalog brimming with well-crafted melodies and often pungent lyrics chronicling the lives of Britain's working class heroes.

Only a few duff cover tunes (the atrocious 'Slow Down' played at breakneck speed and the perfunctory filler of 'The Batman Theme') mar an otherwise rough and ready introduction to one of rock's best bands.

This classic Maximum R&B album is Paul Weller's early initiation to popular music culture. He begins with punk anthems (In the City), but can't resist his R&B roots (visited in EVERY album since) with outstanding songs like Away From the Numbers.

And if ever there was a better guitar solo than Non-Stop Dancin' , I've yet to hear it.

Great early work, a tidbit indicating a powerhouse to come.

The Jam is one of those great acts that never got caught up in the smelly New Wave nor drowned in the stinky Mosh pit, wearing neither outfits redolent of birds of Papua New Guinea nor the interior of a '49 Buick engine cylinder valve...maybe one must be British to get them completely, but nevertheless, a good rockin' band that get's your toes tapping, your booty shakin' and your mind a thinkin'!