Posts Tagged ‘Paul Weller’

When Paul Weller announced the Style Council’s arrival in march 1983, he’d come a very long way. in fact, at the age of just 24, he was already a musical veteran with six albums and nine top 10 singles under his belt with the Jam. as their leader he had become a deity-like figure and for his fans, the Jam’s split was unimaginable. but creatively restless and of inquisitive mind, Paul jettisoned them at their height to form a collective with an eventual core line-up of Paul with Mick Talbot, Dee C Lee and Steve White. in a quest for new sounds, the group travelled to realms previously unchartered for a pop group incorporating musical influences as wide ranging as Blue Note jazz and Chicago soul, Claude Debussy and Erik Satie, Chicago House and Jacques Brel.

At the same time, as battle lines were drawn in a decade under Margaret Thatcher culminating in the miner’s strike of 1984-85, Paul’s lyrics spoke with the language of the activist and his state of the nation addresses were both fierce and eloquent. over four albums and 17 singles, The Style Council made a stand and became the standard bearers of progressive soulful pop and social comment. The Style Council was emblematic of its creator. Paul Weller, smart, fearless, audacious, with a social conscience and totally unafraid to push the possibilities of pop. this is their story… “we set out to have fun, document the times and at the same time we wanted to elevate pop to an art form – I think we did that.” Paul Weller

Ahead of a forthcoming documentary on the second famed band of Paul Weller’s career, the revered British rocker has co-compiled a new collection devoted to The Style Council.

Long Hot Summers: The Story of The Style Council provides an extensive overview of Weller’s work through the ’80s after the dissolution of The Jam. The 37-track collection, available across 2 CDs or 3 LPs, includes a healthy mix of the group’s biggest singles, album cuts, B-sides and two unreleased tracks: an extended version of 1984’s “Dropping Bombs On The Whitehouse” and a string-laden demo of the band’s biggest worldwide hit, “My Ever Changing Moods.”

Working with Dexys Midnight Runners keyboardist Mick Talbot, drummer Steve White and vocalist Dee C. Lee, Weller’s work in The Style Council largely eschewed the punk leanings of The Jam for more overt New Wave, slick soul and sophisti-pop influences. But Weller’s signature song writing was still at the helm – as well as a growing political bent. (Along with Billy Bragg and Jimmy Somerville, Weller was active in Red Wedge, a collective of Labour-sympathetic musicians working to drum up support against England’s prime minister Margaret Thatcher.

The group earned three straight gold records in England with 1984’s Café Bleu (released in America as My Ever Changing Moods – the title track of which became a U.S. Top 40 hit), 1985’s chart-topping Our Favourite Shop and 1987’s The Cost Of Loving. The latter’s mixed critical reception was followed by the experimental Confessions Of a Pop Group (1988); the following year’s Modernism: A New Decade was rejected by Polydor Records, after which Weller called the group off for a solo career.

Long Hot Summers will be available from UMC October 30th – the same day a new documentary about The Style Council, featuring interviews with Weller, Talbot, White and Lee, will premiere on Sky Arts in England. The compilation, remastered at Abbey Road Studios, features new notes by Weller, essayist Lois Wilson, and actor Martin Freeman (star of Peter Jackson’s The Hobbit trilogy and the U.K. version of The Office), a professed “superfan” of the group.

Into Tomorrow by Paul Weller

Paul Weller has personally reviewed thousands of prints to decide the photographs that make up Into Tomorrow.

Weller’s recording sessions are seen from an insider’s perspective, at work on albums such as Wild Wood. Similarly, his tours – from Amsterdam to New York and from the O2 to 100 Club. Shoots have produced album covers such as Modern Classics 1 and 2, As Is Now and Studio 150. Videos have included ‘The Changingman’ and ‘Out of the Sinking’.

Paul’s always very involved; he’s got a great eye.’ Lawrence Watson, Weller and Watson’s working relationship started in 1988, with a chance opportunity for Watson to photograph the Style Council.

Weller was impressed with Watson’s photography, so much so that the work was used for the Confessions of a Pop Group album cover.

‘Much water has flowed, up and down.’  Paul Weller Since the Style Council, Paul Weller has released 11 studio albums, five live albums, 39 singles and three EPs – nearly all of which feature Watson’s photography.

Published in a limited edition of only 2,000, each numbered copy is personally signed by Paul Weller and Lawrence Watson, quarter-bound in leather and housed in a translucent red perspex slipcase. A unique, limited edition vinyl record is discreetly housed with the book in the protective slipcase. This 10″ disc shares previously unreleased live recordings from a performance at the Hammersmith Apollo, selected by Paul Weller. ‘It’s a document of nearly 25 years of work. I am happy to see it documented and collected for posterity’. Paul Weller

‘What I try to do in my pictures is make them quite honest. Hopefully fans will see a true reflection of Paul’s solo years encapsulated in this book.’ Lawrence Watson

‘I thought it’s time to do a book. Me and Lawrence have been working together for more than twenty years. The weirdest thing is that it doesn’t seem that long.’ Paul Weller

Paul Weller introduces Into Tomorrow and provides a narrative commentary throughout. In commenting on more than 20 years of photographs, he revisits his entire solo career for the first time. Lawrence Watson tells the story from behind the camera, adding recollections of gigs, recording sessions and tours, from London to San Francisco, to Tokyo and back.

‘The book is an absolute work of art. I am very pleased with every aspect.’ C.Baker, USA
‘I especially like Paul’s comments which give such a personal insight.’ A. Bates, UK
‘This is my first purchase from you – I am now busy saving for my next!’ M. Bonhomme, Jersey
‘I’m always looking at what’s going on, to see whether I can use it, and write about it. Lawrence is the same. He is always thinking ahead, looking for a backdrop or a certain light, looking for ideas.’ Paul Weller
Paul and Lawrence are signing each of the 2,000 numbered copies in their new limited edition book and vinyl set. Find out more at



The latest album from the veteran singer-songwriter and style icon is an eclectic mix of electronica, psychedelia, pop, balladry and orchestral music. On the album, Paul Weller is aided by his regular cohorts Ben Gordelier, Andy Croft’s and Steve Cradock as well as his old Style Council partner, Mick Talbot, who contributes his Hammond organ mastery to three songs. Singer songwriter Hannah Peel did the string arrangements for the album, and The Paraorchestra perform on four tracks. In addition, other guests perform on individual songs. The album opens with the experimental “Mirror Ball,” a track recorded during the sessions for True Meanings, Weller’s previous studio album. It sounds like bits of different songs pieced together but is quite effective. It is followed by “Baptiste,” a smooth and soulful tune with a strong vocal by Weller. The strings and organ add a great deal to it.

Some of the tracks on the album have Weller looking back on the past with the wisdom and insight of his six decades. “Old Father Tyme” is one of those songs. It’s quite delightful, and Weller sounds like he’s having a blast singing it. The title track is another of the songs that takes a glance to the past. Weller was inspired to write the song when visiting his son in Los Angeles and spending some time on Sunset Boulevard, where he had stayed when he first came to the City of Angels in 1977 on The Jam’s first American tour. It’s an easy going song that flows quite nicely. “More” is something of an off -kilter track that features a verse sung by the French singer Julie Gros of the band Le Superhomard as well as guitar work from Josh McClorey from Irish rockers The Strypes. The strings, flute and horns add lushness to it.

The jaunty “Equanimity” sounds like it could be a Madness song. It includes a measured vocal by Weller and violin by Jim Lea, formerly of Slade. The album’s lead single, “Earth Beat,” looks forward and not to the past. The American singer Coltrane, who Weller met through his daughter, is a guest vocalist on the track. On Sunset is a solid and fascinating piece of work, particularly for an artist 43 years into his recording career. Weller has delivered an interesting and enjoyable album with quite a few standout tracks.

Paul Weller shows few signs of slowing down, fewer still of resorting to lazy repetition. A staggering 43 years since The Jam‘s In The City heralded the beginning of a career that now spans 15 widely diverse solo albums, he retains a restlessness that has seen recent outings make forays into acoustic folk, krautrock, exploratory electronica and music concrete.

Yet a new unlikely theme is beginning to cement itself in Weller’s work, one of mindful domestic contentment. On Sunset witnesses a man who has over the past decade given up the booze and drugs casting a misty eye over one of the most illustrious and varied careers in the British music history. Reflections on his past aren’t new to the 62-year-old, of course. There was much of that on the sonically varied pairing of Saturns Pattern and A Kind Revolution and 2018’s acoustic folk collection True Meanings. What is new is how irrepressibly upbeat, at peace and downright happy the famously spiky one-time king of mod sounds here.

“A lot of the lyrics are about looking back, from the point of view of a 60-something man, not with regret or sadness, but with huge optimism,” Weller explains.

Opening track Mirror Ball has a hopelessly romantic sentiment. It’s Weller’s ode to the timeless joy of the dancefloor, from 1920s ballrooms through Wigan Casino and the Twisted Wheel to present-day techno clubs. It also underlines emphatically Weller’s commitment to experimentation across nearly eight minutes, with a full minute of ambient instrumental sound-scaping housed in its mid-section.

Originally destined to be a B-side for True Meanings, Weller included the song here after friends advised him it was too strong to be thrown away. His weathered voice resembles, not for the last time on this record, David Bowie’s as pulsing synths and a snatch of Spanish guitar open out into a shimmering disco groove, with a devilish octaved guitar riff making ostentatious interjections.

There are more familiar moments to be found, with “soulful” the predominant mood. Several of the songs on Weller’s 15th solo album were written with a diverse set of singers in mind – notably Bobby Womack and Pharrell Williams.

On Baptiste, a song Weller calls “a celebration of soul music’s universality” the inspiration is Bobby Bland. The New Orleans-style stomp positively glows with analogue warmth, Weller and Steve Cradock’s rootsy playing backed up by parping horns as the singer emotes “from the mountains high to the valleys low”.

Across On Sunset‘s 10 tracks, the palette is fuller and more colourful than on True Meanings – Games Of Thrones composer Hannah Peel’s orchestrations melding with Weller’s regular sidemen Cradock, bassist Andy Crofts, Tom Van Heel on keys and drummer and additional guitarist Steve Pilgrim. Indie-folk trio The Staves also contribute backing vocals.

On Old Father Tyme, the air is thick with nostalgia and fond reflection. “Time will become you, you will become time,” Weller acknowledges, piano chords, horns and acoustic guitar fusing with electronic percussion and gurgling synth textures, Weller at once glancing in his rear-view mirror and striding into the future.

Style Council mate Mick Talbot adds Hammond organ to the wistful Village, co-written with producer Jan ‘Stan’ Kybert. With an ample dose of wah in the mix, Weller brims with contentment, “heaven in my sights”, recognising that utopia can be the people and places closest to home. He sighs blithely, “Not a thing I’d change if I could/ I’m happy here in my neighbourhood.” It is ever so slightly cloying.

The silky tones of French singer Julie Gros from space-pop touring partners Le Superhomard are a pleasing counterpart to Weller’s oaky timbre on the lovely, cinematic More, the sweeping strings adding drama to an arrangement that sparkles with flute, sax and Weller and Cradock’s darting guitar runs. Lyrically, it’s a rare deviation from the convivial mood, Weller critiquing avaricious consumer culture before cutting loose on a wanton solo in the final moments.

The jaunty music hall of Equanimity is the most eye-opening moment. In Weller’s words, it’s “a bit Berlin cabaret, a bit Bonzo Dog Doo Dah Band” if that’s something you can imagine, Slade’s Jim Lea contributing a sweet violin solo. Town Called Malice it ain’t.

Just as far out of Weller’s existing wheelhouse is the future-gazing funk of Earth Beat. His admirable appetite to remain current sees emerging British R&B artist Col3trane adding his hushed vocals to an upbeat electro-pop romp co-written with Jim Jupp, founder of Ghost Box Records.

On Sunset‘s high point, though, is the closing Rockets, a Bowie-esque acoustic ballad with strings and sax rising tastefully into the picture, and a stately Weller reminding us he maintains some punk fury as he rails against social injustice, poverty and corrupt power structures. “All our lives, the system all decides/ The institutions old but still in control,” he rages. It’s really rather beautiful, an affecting end that shows Weller wearing his 62 years well.

Yet it’s notable that amid all the reflective serenity and happiness this impressively multifarious album is bathed in, it’s when Paul Weller gets angry again that On Sunset is most incisive.

The bonus tracks for the deluxe CD edition of Paul Weller‘s new album On Sunset have been confirmed. The deluxe CD (which comes in hardcover book packaging rather than jewel case) will actually have FIVE bonus tracks, not three as originally thought. That takes the track count from 10 to 15. The songs are as follows: 4th Dimension, Ploughman, I’ll think of Something, On Sunset (Orchestral mix), Baptiste (instrumental version)

The Japanese version of the deluxe CD is a 16-track edition. It features the five tracks above, plus a Japan-only bonus track called ‘Failed’.

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The Style Council formed Woking in 1983 by Paul Weller  the former singer, songwriter, and guitarist with the rock/new wave band The Jam following the break up Weller and keyboardist Mick Talbot, previously of Dexys Midnight Runners and Merton Parkas,  The line-up also included drummer Steve White and Weller’s then-wife, vocalist Dee C. Lee. Other vocalists such as Tracie Young, Tracey Thorn (Everything but the Girl), and later drummer/percussionist Steve Sidelnyk They released 6 albums and had 19 hit singles before disbanding in 1989.

The band showed a diversity of musical styles. Singles like “Speak Like a Child” (with its loud soul-influenced style), the extended funk of “Money-Go-Round”, and the synth-ballad “Long Hot Summer” all featured Talbot’s  keyboards and organ. Near the end of 1983, these songs were compiled on Introducing The Style Council, a mini-album initially released in Japan, the Netherlands, Canada, and the US only.

In their lyrics, The Style Council took a more overtly political approach than The Jam, with tracks such as “Walls Come Tumbling Down!”, “The Lodgers” and “Come To Milton Keynes” being deliberate attacks on ‘middle England’ and the Thatcherite policies of the UK government during the 1980s. In 1985, Weller was persuaded by Billy Bragg to let the Style Council play a leading role in Red Wedge, a youth-oriented political campaign associated with the British Labour Party.

The Style Council

A1: Money Go Round
B1: Headstart For Happiness
B2: Mick’s Up

Style Council debut Money-Go-Round released 1983 UK 3-track 12″ vinyl single, also including the acoustic version of Headstart For Happiness and Mick’s Up, glossy flipback picture sleeve TSCX2) Money Go Round was available on 7” with a picture insert and for the first time a 12” (with 2 extra tracks) The 7” Cover of a coffee machine from Linda’s Cafe on Edgware Road, around the corner from the studio, which the band frequented.

à Paris

A1: Long Hot Summer (Extended Version)
B1: Party Chambers
B2: The Paris Match
B3: Le Départ

Long Hot Summer” was a song by the English band The Style Council which was their third single to be released, composed by lead singer Paul Weller, recorded between 12th and 17th June 1983 in the Grande Armée Studios in Paris, and released on 8th August 1983. In addition to being sold as a conventional two track 7″ single, “Long Hot Summer” was also simultaneously released as a four track 7″ and 12″ EP titled Á Paris which also contained the song “The Paris Match” plus two keyboard instrumentals, “Party Chambers” and “Le Depart”. It was also included on the 1983 mini-album “Introducing The Style Council”.

Mick Talbot, Style Council: I met Paul in ’79. I was in a band called The Merton Parkas. There was talk of Paul producing us but that never happened. By the time he contacted me in August ’82, saying he was going to wrap up The Jam, I hadn’t seen him for quite a while. But he already knew what he wanted to do and asked if I wanted to be involved. He was conscious of wanting to work outside the restrictions of a standard band line-up – to the point where there are quite a few early instrumental tracks on which Paul might not even be playing. He was overseeing things, more like a film director.

 á Paris – Again a different sleeve for each version. 7” was photographed at Place De La Concorde and 12” at The Trocadéro in Paris.

On “Long Hot Summer”, we wanted to combine very contemporary synth sounds with Hammonds and electric pianos. We were both into close-harmony groups and in our minds we’d have liked to have The Delfonics cover “Long Hot Summer”. The video was us punting down the Cam as if we were Cambridge dons, with echoes of Brideshead Revisited. Tim Pope was directing and said, “If you lie down I can get both your heads in shot,” so we were getting closer and closer and we thought it funny to stroke each others’ ears. There was a hoo-ha at the record company and the video was leaked to the press. Next thing you know, we’re both out the closet!. The song reached the position of number three in the UK singles chart making it the Style Council’s biggest hit, and it remains a staple of Paul Weller’s live concerts.

By coincidence the British summer heat wave of 1983, most notably July, turned out to be one of the hottest on record – something that would not have been known at the time the song was written and recorded.

My Ever Changing Moods

A1: My Ever Changing Moods (Long Version)
B1: Spring, Summer, Autumn
B2: Mick’s Company

My Ever Changing Moods” is a song by band The Style Council which was their fifth single to be released. It was composed by lead singer Paul Weller, recorded at Weller’s own studio Solid Bond Studios, and was released in 1984. It is the first single from the band’s début album, Café Bleu (1984), which was renamed My Ever Changing Moods in the United States to capitalise on the success of that single. A much needed breather after the claustrophobic funk of “Money Go Round”. In its place, a Smokey Robinson-inspired vocal, ersatz latin percussion and the arrival of the cycling shirt as the item du jour for the discerning Wellerphile. This is another delightful release. 2 absolutely stunning sleeves by Simon and intentional or otherwise none of them mention the tracks within or indeed that it had extras..

Steve White, Style Council/ Paul Weller band: Originally, it had a completely different feel. Paul and Mick had recorded an early version just with the piano. It was very melancholy. Then they performed it with Elvis Costello on a TV show, and had the idea to make it more lively. I suggested we make it feel more like War or Curtis Mayfield. Suddenly this song – very dark, lyrically – became very positive sounding and upbeat, more like an old soul record. In those days we did everything quickly – it didn’t matter if there were a few fluffed notes – it was all about the feel. Oddly, it was one of our few successes in America . Number 29, I believe! The cycling shirts? We were doing a lot of work in Italy at the time, and Paul saw these kids riding scooters wearing cycling shirts with jeans, and he thought he’d use it. A great look when you’re 18. As you get a little older, not so great!

Composed by lead singer Paul Weller, this song is a homage to Curtis Mayfield with overtones of nuclear threat. Weller told Mojo: “It started from the title. I thought, ‘What a great title, My Ever Changing Mood. But it’s about nuclear holocaust as well. ‘The hush before the silence, the winds after the blast’ and all that. I think it’s probably like a lot of songs I’ve done… they start of being about myself and then I get bored with it and I make it into something else.”

“My Ever Changing Moods”, backed with the Hammond organ instrumental “Mick’s Company”, peaked at No. 29 on the Billboard Hot 100 the week of June 9th, 1984, in the US. The song remains Weller’s greatest success in the US (including his efforts in The Jam and as a solo artist)


A1: You’re The Best Thing (Long Version)
A2: You’re The Dub Thing
B1: The Big Boss Groove

“Groovin”  – We better call it that but in essence You’re The Best Thing & The Big Boss Groove. The first double A sided single. Again we got different sleeves for both releases, the 7” being an inspiration from what?

STYLE COUNCIL Groovin’ (1984 UK 3-track 12″ vinyl EP, includes You’re The Best Thing Long Version & You’re The Dub Thing plus the non-album track The Big Boss Groove, housed in a glossy picture sleeve. TSCX6)

Shout to the Top!

A1: Shout To The Top
A2: Shout To The Top (Instrumental)
B1: The Piccadilly Trail
B2: Ghosts Of Dachau

Shout to the Top!” by the English band The Style Council which was their seventh single to be released, composed by lead singer Paul Weller, and was released in 1984. It appears on the Vision Quest soundtrack in the United States.

The song also appears on the deluxe edition of Our Favourite Shop (1985), and features in the film Billy Elliot (2000) and on its soundtrack. Paintings representing the 1984 miners strike feature in the video.

STYLE COUNCIL Shout To The Top (1984 UK 4-track 12″ vinyl EP, also including the Instrumental Version plus two superb non-album tracks: Ghosts Of Dachau and The Piccadilly Trail. TSCX7

Walls Come Tumbling Down!

A1: Walls Come Tumbling Down!
A2: Spin’ Drifting
B1: The Whole Point II
B2: Blood Sports

Walls Come Tumbling Down!” song by the English band The Style Council which was their ninth single to be released. It was composed by lead singer Paul Weller, and was released in 1985. It is the first single from the band’s second album, Our Favourite Shop (1985). Our Favourite Shop was renamed Internationalists for the U.S. market.

Mick gets his first solo sleeve, there’s been a few stories around of its origination & why it’s a calming contrast to the anger of the single. The song “Blood Sports”, which appeared on the single, is about anti-hunting and anti-animal blood sports. Its writing royalties went to the Bristol Defence Fund for two hunt saboteurs jailed for anti-blood sports activities. The first single from the forthcoming album Our Favourite Shop, which would topple Dire Straits and enter the chart at Number ONE

Billy Bragg: The first time I met Paul, we were doing a gig for the Young Socialists on a tiny stage on the South Bank, where the London Eye is now. It must have been 1984 . Later, he invited me to open for The Style Council on one of their early tours. The gigs weren’t dour and political at all, they were a celebration, like the Stax/Volt revue. The sensibility of using music to put across political ideas was one thing Paul carried over from The Jam. “Walls Comes Tumbling Down” best summed up what we were trying to do in the mid-’80s. All of us were very inspired by the civil rights-era in American soul music. The Paul I knew then was very political, supporting the likes of the Young Socialists and Youth CND. I thought it was worth trying to work with the Labour Party. I’d done a Jobs For Youth tour in early 1985 that was kind of like a dry run for Red Wedge. We started having meetings at their HQ in Elephant & Castle with the likes of Peter Mandelson, Charles Clarke and Patricia Hewitt. Paul was crucial – he was such as big star that people took us seriously. Paul’s presence drew the crowds, allowed us to play bigger venues and pulled in other artists, so his commitment was key. He had a broad audience – he was the only person to do Live Aid and Red Wedge.

STYLE COUNCIL Walls Come Tumbling Down! (1985 UK 4-track white label promotional vinyl 12″, also including Spin Drifting, The Whole Point II and Blood Sports. Housed in a custom stickered die cut sleeve, TSCX8

Come To Milton Keynes

A1: Come To Milton Keynes
A2: Our Favourite Shop (Club Mix)
B1: (When You) Call Me
B2: The Lodgers (Club Mix)

In an interview given at the time of the song’s release Paul Weller states that the song was inspired by the “Red Balloon” Milton Keynes advert which was produced on behalf of the Milton Keynes Development Corporation. “Come To Milton Keynes”. There were 3 releases for this single so I need to split the front & back sleeves. A single 7” sleeve, a gatefold 7” showing off the now famous shop and a 12”.

Paul Weller biographer John Reed argues in ‘Paul Weller: My Ever Changing Moods’ that: The song’s lyrics suggested a reality of drugs, violence, and ‘losing our way’ behind a façade of ‘luscious houses ‘ where the ‘curtains are drawn’, the idea being to create a musical pastiche which matched the supposed artificiality of Milton Keynes itself.”

The Lodgers

A1: The Lodgers (Extended Mix)
B1: The Big Boss Groove (Live)
B2: Move On Up (Live)
B3: You’re The Best Thing (Live)
B4: Money-Go-Round Medley (Live)

The Lodgers” also known by the full title “The Lodgers (Or She Was Only a Shopkeeper’s Daughter)” song by the English band The Style Council, which was their eleventh single to be released. It was composed by lead singer Paul Weller and keyboardist Mick Talbot, and was released in 1985. It is the third single from the band’s second album, Our Favourite Shop (1985). Our Favourite Shop was renamed Internationalists in the United States. The Lodgers, A totally new recording from the album version and badged as featuring Dee.C.Lee on the Sleeve for 7”/12” slightly remixed. There was also a double pack 7”

THE STYLE COUNCIL The Lodgers (1985 UK 5-track 12″ vinyl EP featuring a newly recorded version with Dee C. Lee, also includes live versions of The Big Boss Groove, Move On Up, You’re The Best Thing and the 3-track Medley of Money-Go-Round, Soul Deep & Strength Of Your Nature. Housed in a front laminated picture sleeve with double-sided photo insert. TSCX10

Have You Ever Had It Blue

A1: Have You Ever Had It Blue (Uncut Version)
B1: Have You Ever Had It Blue (Cut Version)
B2: Mr Cool’s Dream

“Have You Ever Had It Blue”. From the Absolute Beginners movie. The only single from 1986. On 7”, 12” 7” cassette pack , CD video single and an exclusive version on the official Soundtrack. The labels from the 7” and 12” and a nod to the book of the same name – Mr Cool’s Dream – “Cool” was a character in the book and movie. Now you know. The 7” cassette pack had a live track. There was a CD video single released, a high quality video of the time that played on a laserdisc only – it also contained the audio from the 12” release. Lastly, the soundtrack contained an exclusive mix, but is not described as such anywhere within. Worth tracking it down,

STYLE COUNCIL Have You Ever Had It Blue (1986 UK 3-track 12″ vinyl single, features Uncut Version, Cut Version and Mr Cool’s Dream, CINEX1

It Didn’t Matter

A1: It Didn’t Matter
B1: It Didn’t Matter (Instrumental)
B2: All Year Round

It Didn’t Matter” is a song by The Style Council which was their fifteenth single to be released. It was composed by lead singer Paul Weller, keyboardist Mick Talbot, and was released in 1987. The song was duetted by Weller and his then-wife Dee C. Lee. It is the first single from the band’s third album, The Cost of Loving, also known as the Orange album. Backed with “All Year Round”, it became a hit, peaking at No. 9 in the UK, and No. 48 in both Australia, and New Zealand. It has remained one of their most enduring hits.

It Didn’t Matter – 7” and 12” which came in 2 sleeves, Traditional and die cut. The Style Council Soared into the Top 10! A superb band cover photo. We have moved into 1987.

STYLE COUNCIL It Didn’t Matter (1987 UK 7″ vinyl single also including ‘All Year Round’, front-laminated flipback picture sleeve. TSC12


A1: Waiting (Vocal)
A2: Francoise (Vocal)
B1: Francoise (Theme From “JerUSAlem”)
B2: Waiting (Instrumental)

“Waiting” was the 2nd & final single from The Cost of Loving The tweets will sharply decline as the numbers buying it in 1987 were greatly reduced. Simon has introduced the shield logo seen on badges and socks at the General Election tour.


A1: Wanted
B1: The Cost
B2: The Cost Of Loving

“Wanted” or “Waiter, There’s Some Soup In My Flies” was the 3rd and final single of 1987 to meet their contractual obligations. Not from The Cost of Loving & not from the next album. A pop chart hit. This also came out as a CD & Cassette Single, The labels on the 7” and 12” the 12” from a Japanese show filmed in front of the houses of Parliament. So essential to have all 4 for the completist. for Wanted the 12” has a marvellous glossy colour internal sleeve. STYLE COUNCIL Wanted (1987 UK 3-track 7″ vinyl EP, also including The Cost Of Loving Vocal & Instrumental Versions. TSC14

Life At A Top Peoples Health Farm

A1: Spank!
A2: Life At A Top People’s Health Farm
B1: Life At A Top People’s Health Farm (Um And Argh Mix)
B2: Sweet Loving Ways

Life At A Top Peoples Health Farm. The first single of 1988 & from the forthcoming album. An Iconic sleeve, pic by Mick’s partner Shane on a 2 week trip abroad with Paul and Dee

1 2 3 4 EP A Summer Quartet (How She Threw It All Away) 

A1: How She Threw It All Away
A2: Love The First Time
B1: Long Hot Summer (Tom Mix)
B2: I Do Like To Be B-Side The A-Side

How She Threw It All Away the 2nd and final single from the album Confessions Of A Pop Group; classed as an EP “A Summer Quartet”

Promised Land

A1: Promised Land (Longer Version) (Juan Atkins Mix)
A2: Promised Land (Pianopella Version)
B1: Can You Still Love Me? (Dub)
B2: Can You Still Love Me? (Vocal)

The cover version of “Promised Land” (originally by Joe Smooth) was the only release which surfaced from the Modernism sessions. The Style Council released a cover of the song in 1989. Along with the track, “Can You Still Love Me”, “Promised Land” was the group’s only entry on the US dance chart, where it peaked at number nineteen

A1: Promised Land (Joe Smooth’s Alternative Club Mix)
B1: Can You Still Love Me (Club Vocal)
B2: Can You Still Love Me (12 O’Clock Dub)

Promised Land” is a 1987 single by American producer and DJ Joe Smooth. It is one of the most acclaimed house classics.

A1: Long Hot Summer 89 Mix (Extended Version)
B1: Everybody’s On The Run (Version One)
B2: Everybody’s On The Run (Version Two)



A: Sure Is Sure (Go Foward Mix)
B: Love Of The World (Free Love Mix)

In December 1984, Weller put together an ensemble called The Council Collective to make a charity record, “Soul Deep”, initially to raise money for striking miners during a long-running industrial dispute, and subsequently also for the family of David Wilkie. The track featured The Style Council and a number of other performers, notablyJimmy Ruffin andJunior Giscombe. In spite of the song’s political content, it received airplay on BBC Radio 1 and was performed by the group on Top of the Pops,as well as (live) on Channel 4’s The Tube.

Members Paul Weller / Mick Talbot / Dee C. Lee / Steve White

The Style Council broke up in 1989. About the breakup, Paul Weller said (in 1990): It’s something we should have done two or three years ago. We created some great music in our time, the effects of which won’t be appreciated for some time. All of The Style Council’s UK releases (including singles, 12″ maxis, albums, compact discs and re-issues thereof) featured the work of graphic designer Simon Halfon, who often collaborated with Weller to hone his ideas into a graphic form. Weller and Halfon began working together at the end of The Jam’s career, and continue to work together on Weller’s solo material.

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I think I’ve been suffering from Paul Weller fatigue in recent times. The ex-Jam and Style Council man has been knocking them out regularly for quite a while and although there’s been nothing really wrong with the likes of Saturns Pattern and A Kind Revolution, it feels like ages since I really loved one of his solo efforts (probably 2008’s 22 Dreams). But True Meanings has reversed that trend. It’s a beautiful record. I’m a sucker for that pastoral, folky vibe, but crucially, the songs are also very good. ‘Gravity’ and ‘Glide’ drip with acoustic regret while ‘Old Castles’ has a wonderful jazzy lilt. Best of all the mood and tone is consistent throughout and therefore this feels like a proper album, to sit back and enjoy.

The former Jam and Style Council man continues to rack up Top 10 albums at home in the UK. His music these days is more acoustic-based and rustic than it was, but his writing remains vital, and Bowie fans will want to hear Paul’s tribute to their man.


The Clash’s ‘London Calling’ wasn’t the only shapeshifting punk record released in 1979. That honor also went to the Jam’s ‘Setting Sons.‘ The rabble-rousing “Girl on the Phone” and “Private Hell” are puncture-wound Britrock, while the surging standout “The Eton Rifles,” one of the Jam’s best songs, is a ferocious, biting piece of class commentary. Still, the graceful, strings-driven “Smithers-Jones” and the note-perfect, power-pop trifle “Thick as Thieves” reveal maturity and sophistication the Jam would soon embrace even more.

Having released four albums in two and a half years, The Jam had become one of the most prolific – and insightful – bands of the late 70s. By the time Setting Sons came out, on 16th November 1979, they had developed far beyond their initial punk/mod revivalist beginnings and were beginning to explore ever more ambitious themes in their work, with frontman Paul Weller stepping out as the new wave’s answer to The Kinks’ Ray Davies.

The only single to be released from the album, ‘The Eton Rifles’ recounted events of June 1978, when a fight erupted in Slough between Right To Work marchers and Eton pupils. Reaching No.3 in the UK – the group’s highest placement yet – it epitomised Weller’s knack for putting social commentary to catchy tunes. The song was initially part of a broader patchwork, as Weller had intended for Setting Sons to be a concept album of sorts, telling the story of three friends who, after having gone their separate ways and lived through a war, reunite only to discover how much they’ve changed. The concept didn’t survive to the end stages, yet the album remains a high-water mark in The Jam’s career.

Almost a year after Setting Sons was released the group were on stage at Newcastle City Hall, on 28 October 1980, showing fans how much they had changed in the preceding months. With their forthcoming album, Sound Affects, just a month away, The Jam tore through all but two of the then unknown songs (curiously leaving future classic ‘That’s Entertainment’ off the setlist), revealing the even more ambitious sonic palette they were working with. The album’s nods towards British psych and Weller’s beloved R&B rightly took the group to No.2 in the UK charts.

That Newcastle gig was recorded for posterity, offering fans an unparalleled insight into the band’s development at this crucial time in their career.

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This week my most awaited LP of 2018 thus far coming from the inimitable Low on their shadowy electronic masterpiece, ‘Double Negative’. There are synths akimbo on the new one from MCR up-n-comers Pale Waves, reminding me of a more youthful Kristin Kontrol (if only everyone loved that LP as much as I did), or a less saccharine Tegan & Sara. In fact, it’s a very electronic week on the heavy hitters, Those of you who love a good guitar can do FAR worse than The Goon Sax’s new outing on the ever-reliable Wichita Recordings, absolutely brimming with lyrical fire and melodic cleverness, and with the propulsive slacker vibes the Aussies do so well.


Low  –  Double Negative

In 2018, Low will turn twenty-five. Since 1993, Alan Sparhawk and Mimi Parker—the married couple whose heaven-and-earth harmonies have always held the band’s center—have pioneered a subgenre, shrugged off its strictures, recorded a Christmas classic, become a magnetic onstage force, and emerged as one of music’s most steadfast and vital vehicles for pulling light from our darkest emotional recesses. But Low will not commemorate its first quarter-century with mawkish nostalgia or safe runs through songbook favorites. Instead, in faithfully defiant fashion, Low will release its most brazen, abrasive (and, paradoxically, most empowering) album ever: Double Negative, an unflinching eleven-song quest through snarling static and shattering beats that somehow culminates in the brightest pop song of Low’s career.

To make Double Negative, Low reenlisted B.J. Burton, the quietly energetic and adventurous producer who has made records with James Blake, Sylvan Esso, and The Tallest Man on Earth in recent years while working as one of the go-to figures at Bon Iver’s home studio, April Base. Burton recorded Low’s last album, 2015’s Ones and Sixes, at April Base, adding might to many of its beats and squelch and frisson beneath many of its melodies.

This time, though, Sparhawk, Parker, and bassist Steve Garrington knew they wanted to go further with Burton and his palette of sounds, to see what someone who is, as Sparhawk puts it, “a hip-hop guy” could truly do to their music. Rather than obsessively write and rehearse at home in Duluth, Minnesota, they would often head southeast to Eau Claire, Wisconsin, arriving with sketches and ideas that they would work on for days with Burton. Band and producer became collaborative co-writers, building the pieces up and breaking them down and building them again until their purpose and force felt clear. As the world outside seemed to slide deeper into instability, Low repeated this process for the better part of two years, pondering the results during tours and breaks at home. They considered not only how the fragments fit together but also how, in the United States of 2018, they functioned as statements and salves.

Double Negative is, indeed, a record perfectly and painfully suited for our time. Loud and contentious and commanding, Low fights for the world by fighting against it. It begins in pure bedlam, with a beat built from a loop of ruptured noise waging war against the paired voices of Sparhawk and Parker the moment they begin to sing during the massive “Quorum.” For forty minutes, they indulge the battle, trying to be heard amid the noisy grain, sometimes winning and sometimes being tossed toward oblivion. In spite of the mounting noise, Sparhawk and Parker still sing. Or maybe they sing because of the noise. For Low, has there ever really been a difference?

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Toy  –  The Willo

Since 2010, Toy have earned a reputation as a band of integrity, virtuosity and taste, with Tom, Maxim, Dominic, Charlie and (joining in 2015) Max creating a sound that is embedded in the underground tradition, yet distinctly their own. Now here comes a two-track twelve-inch on Tough Love, a foretaste of a forthcoming album in January 2019, which marks a new dawn for this most singular of bands.

‘The Willo’ is a dreamlike, seven-minute glide, redolent of a forest at sunset and just as pretty, but not without hints of malevolence. Maxim’s fingerpicking acoustic melds with electric twang from Dominic, and a whirling organ from Max Oscarnold gives this elegant creation an extra layer of disorientation and depth. “People appear to have seen Will-o’-the-wisp, a mysterious green-blue light, over the centuries. It generally means something ominous is about to happen”, says Tom.

Then there is ‘Energy’, which lives up to its name with thunderously metronomic drums from Charlie Salvidge and a ferocious guitar from Dominic O’Dair. The lyrics, culled from a story written by Max about a nighttime ritual, are obscured by the barrage-like forward momentum of the music.

The twelve-inch, recorded and mixed by the band between Oscarnold’s Stoke Newington flat and a south London studio, is the first release for Toy on their new label Tough Love, representing the latest stage in the evolution of the band. Since their inception, they have released the acclaimed albums Toy (2012), Join The Dots (2013) and Clear Shot (2016), and toured everywhere from Serbia to China, while holding onto that youthful, magical moment of discovering strange new worlds of innocence and experience.


The Goon Sax

The Goon Sax are James Harrison, Louis Forster and Riley Jones from Brisbane, Australia. Still in high school when they made their first album Up To Anything in 2016, their brand of awkwardly transcendent teenage guitar pop took earned them wide-spread critical acclaim.

For album number two, they flew to Melbourne to record with James Cecil and Cameron Bird, respectively former/current members of Architecture In Helsinki, and ‘We’re Not Talking’ shows how much can change between the ages of 17 and 19. It’s a record that takes the enthusiasms of youth and twists them into darker, more sophisticated shapes. Relationships are now laced with hesitation, remorse, misunderstanding and ultimately compassion.

Drummer Riley Jones really comes to the fore here, joining Louis and James in singing lead and writing songs for the first time, making the band the musical equivalent of an equilateral triangle (the strongest shape in physics).

Delivering brilliantly human and brutally honest vignettes of adolescent angst, The Goon Sax brim with personality, charm and heart-wrenching honesty. ‘We’re Not Talking’ is a record made by restless artists, defying expectations as if hardly noticing, and its complexity makes ‘We’re Not Talking’ even more of a marvel.


Dilly Dally – Heaven

Heaven highlights Dilly Dally’s rough edges in all their ragged glory, drawing every potent ounce of energy from the foursome’s swampy tones, raspy vocals, and volatile rhythm section. While the music is undeniably ferocious, there’s uplift woven into the fabric of every track. The album opens with the dreamy “I Feel Free”, which begins as a floating, untethered soundscape before transforming into a soaring anthem for a world that’s ready to finally turn the page on all the darkness and disillusion the last few years have wrought. The inexorable “Believe” insists on self-confidence, while the driving “Sober Motel” celebrates the lucidity a clear mind, and the lilting “Sorry Ur Mad” makes a case for releasing yourself from the prisons of anger and resentment. Heaven carves out its own atheistic religion to get through the day, a faith that validates our pain as real but responds with a beaming light of hope. [Limited white colored vinyl pressing also available.]

Slothrust the pact

Slothrust  –  The Pact

Slothrust is principal songwriter, guitar player and unrepentant aesthete Leah Wellbaum, with drummer Will Gorin and bassist Kyle Bann. On their fourth full-length album The Pact, Slothrust constructs a luscious, ethereal cosmos perforated with wormy portals and magic wardrobes, demonstrating more clearly than ever the band’s deft shaping of contrasting sonic elements to forge a muscular sound that’s uniquely their own. Bizarre and mundane, tender and confident. The awkward duality of the forever outsider, rightly reclaimed as power. This is The Pact. Produced and engineered by Billy Bush in Los Angeles (the band’s new home base), Slothrust’s new album is a confident journey across 12 songs that oscillate between a quietly reflective tenderness and a slick, sleek confidence; balancing playful innocence with ballsy swagger. “This is the most fun I’ve ever had making a record,” Wellbaum confirms. “We were able to take risks. I’m saying yes more than no these days.”


Pale Waves  – My Mind Makes Noises

After signing a record deal with Dirty Hit in 2017, Manchester’s Pale Waves released their debut single “There’s a Honey”, followed by “Television Romance”. The following year, the band were ranked fifth in the BBC Sound of 2018 poll and won the NME Under the Radar Award at the NME Awards. They now return with their debut album which features the singles ‘There’s A Honey’, ‘Television Romance, ‘Kiss’, ‘Eighteen’ and new single ‘Black’.

Pale Waves are Heather (vocals, guitar), Ciara (drums), Hugo (guitar) and Charlie (bass).

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Richard Thompson – 13 Rivers

Richard Thompson’s new album is his first self-produced record in over a decade. It’s a minimal and spacious recording which, according to Thompson, is a projection of current events in his life. “This has been an intense year for myself and my family, getting older doesn’t mean that life gets easier! There are surprises around every bend. I think this reflects in the immediacy of the stories, and the passion in the songs. Sometimes I am speaking directly about events, at other times songs are an imaginative spin on what life throws at you. The music is just a mirror to life, but we try to polish that mirror as brightly as possible.” 13 Rivers spans thirteen tracks. It is an album as much about growth as it is about reflection. Says Thompson, “I don’t know how the creative process works – I suppose it is some kind of bizarre parallel existence to my own life. I often look at a finished song and wonder what the hell is going on inside me. We sequenced the weird stuff at the front of the record, and the tracks to grind your soul into submission at the back.” [Limited black and cream colored vinyl pressing also available.]


First Aid Kit – Tender Offerings

“Technically, Tender Offerings are the four songs that did not make it onto Ruins. For these ladies, these precious songs did not fit the bombastic folk-nature of the album. Instead, they truly felt like tender offerings; too sweet and soft in scope to be fluidly aligned with their other tracks. Once, you hear such gorgeous tracks like, “I’ve Wanted You” and “All That We Get” you will understand their point. Instrumentally, you feel every hook, melody, and chorus was precisely and clearly made as a cloud creates a raindrop. This duo turn their guitar melodies into field of amber strings dancing in the suns of their voices like grains move with daylight.”

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Paul Weller – True Meanings

To put it simply, True Meanings, the fourteenth Paul Weller solo album and the 26th studio album of his entire career, is a record unlike any he has ever made before. It’s characterized by grandiose-yet-delicate, lush orchestration: an aesthetic to which Weller’s better-than-ever voice, singing some of his most nakedly honest words, is perfectly suited. A dreamy, peaceful, pastoral set of songs to get lost in, it’s both an album that his faithful audience has been wanting him to make for a long time, and an album that many new people outside of that audience will relate to.

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The Doors – Waiting For The Sun [Reissue/1968]

50th Anniversary reissue. This double-CD and single-LP collection features a new version of the album’s original stereo mix on both CD and 180-gram vinyl LP, which has been newly remastered from the original master tapes by Bruce Botnick, the Doors’ longtime engineer/mixer. The CD set also includes a second disc of 14 completely unreleased tracks: nine recently discovered “rough mixes” from the album recording sessions and five live songs from a 1968 Copenhagen show.

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Joni Mitchell – Both Sides Now: Live at The Isle of Wight Festival 1970 DVD

Directed by Academy Award winning filmmaker Murray Lerner, Both Sides Now: Live At The Isle Of Wight Festival 1970 features new interviews with Joni, discussing her recollections of the event intercut with festival footage, both onstage and behind the scenes, offering a fascinating insight into a now legendary concert from the artists point of view and putting the events of the day into context.

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The string-laden, largely acoustic and Nick Drake-esque track Aspects is a taster for Paul Weller’s hotly anticipated 14th solo studio album True Meanings which will be released later this year and from the sound of this track alone, promises to be a truly special release.

Paul said of Aspects; “I don’t know if it’s indicative of the album, but it’s certainly the cornerstone to the record for me. It’s also where I got the title of the album from…”.Today, Friday May 25th, Paul Weller celebrates his 60th birthday and to mark this momentous occasion, Paul has a special treat in store for his fans with the release of a beautiful new tune Aspects.

Sound Affects [VINYL]

On the 28th November in 1980: The Jam released their 5th studio album, ‘Sound Affects’, on Polydor Records…by Paul Weller, Bruce Foxton & Rick Buckler It featured the group’s second UK single, “Start!”; as well as other excellent Jam gems such as the funky “Pretty Green”, the raging “Set The House Ablaze”, ballad “That’s Entertainment” & the horn-driven “Boy About Town”; one side of the cover design was a pastiche of the artwork used on various sound effects records produced by the BBC during the ’70s; Paul Weller later cited it as his favourite Jam album in a BBC documentary; in 2006.

For many this album represents the musical zenith for The Jam. It is a fantastic album from start to finish in terms of the songwriting. The earlier Setting Sons has few brilliant anthemic tracks such as Thick as Thieves or The Eton Rifles and was intended as a concept album with the themes of friendship over time being the focal point but by Paul Weller’s own admission had a few fillers such as Girl on the Phone, Private Hell and the cover of Martha Reeves’ Heatwave. This album by contrast is a highly polished offering, perhaps a little too over produced at times and as such saw The Jam going in a new direction. Gone is the earlier raucousness and anger and the imperfect guitar playing and vocals which added something to the songs and at times made them seem rather like live tracks. Instead, this album has a veneer and a polish which firmly established The Jam as a post-punk band.

The Jam’s most consistent effort, ‘Sound Affects’ finds the trio splitting the difference between retro mod-pop (“Boy About Town,” the lovelorn “Monday,” jangly “Man in the Corner Shop”) and kicky power-punk (“But I’m Different Now” the herky-jerky “Start!”). Yet ‘Sound Affects’ also has a menacing tone—check the wary whistling on “Set the House Ablaze” and the record-closing, post-punk march “Scrape Away” a dark soundtrack suitable for stalking prey—that gives the music enduring depth. Plus, the LP contains one of the band’s finest moments, the nostalgic and bittersweet classic “That’s Entertainment.”

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Tellingly, when Paul Weller came to record 2010’s Mercury-nominated Wake Up The Nation, it was 1980s Sound Affects that his collaborator and producer Simon Dine held up as a model. Sound Affects was originally released at a time when The Jam was considered the biggest band in Britain. The album followed the band’s first number one single– “Going Underground” and features the group’s second UK number one single, “Start!”–a track built around almost exact copies of the bass-line and guitar solos from The Beatles’ “Taxman” (at the time Weller considered the album a cross between Off the Wall and Revolver). It includes many of the band’s classic songs: “That’s Entertainment” (written in a caravan in Selsey, after the pub), never released as a single in UK,”Man in the Corner Shop”, “Pretty Green”, the pure-pop of “Boy About Town” and “Dream Time”. It’s regarded by critics and fans (as well as Weller) as their most adventurous and experimental collection of material, drawing musical influences from the ‘post-punk’ groups of the late-70s–Wire, Gang Of Four and Joy Division–as well as neo-psychedelic touches from The Beatles and The Zombies.

The 30th anniversary two-disc, CD deluxe edition of the classic Jam album has been digitally re-mastered and features 22 bonus tracks, demos, b-sides and alternative versions. Also included is a 24-page booklet with extensive new sleevenotes by writer John Harris, a brand new interview with Paul Weller, rare photos and period memorabilia. The bonus material includes eight previously unreleased tracks: demos of “Pretty Green” and “Start!”, alternate versions of “Set the House Ablaze” and “Monday” and a cover of Kinks’ “Waterloo Sunset”, and two instrumental demos.

The Jam regrouped and refocused for All Mod Cons, an album that marked a great leap in songwriting maturity and sense of purpose. For the first time, Paul Weller built, rather than fell back, upon his influences, carving a distinct voice all his own; he employed a story-style narrative with invented characters and vivid British imagery à la Ray Davies to make incisive social commentary all in a musically irresistible package. The youthful perspective and impassioned delivery on All Mod Cons first earned Weller the “voice of a generation” tag, and it certainly captures a moment in time, but really, the feelings and sentiments expressed on the album just as easily speak to any future generation of young people. Terms like “classic” are often bandied about, but in the case of All Mod Cons, it is certainly deserved.

All Mod Cons, released to wide acclaim in 1978, firmly cemented the group’s rise to extraordinary heights. Indeed, for many it was the first essential Jam album and listening to it now its impact has not diminished over time.” When I think about English records I think of The Kinks’ The Village Green Preservation Society, The Smiths’ The Queen is Dead, The Who’s Quadrophenia and The Jam’s All Mod Cons. To me all those albums are quintessential English
Recorded between 4th July 1978 to 17th August 197 at 8RAK (Upper London) and Eden Studios
It’s their third full-length LP. It took it’s title from a British idiom one might find in housing advertisements, is short for “all modern conveniences” and is a pun on the band’s association with the mod revival as well. Of Course it is also Paul Weller’s view on the music business as a ‘con’.

Film about the making of “All Mod Cons” by The Jam in 1978 with interviews from all involved including band members Paul Weller, Bruce Foxton and Rick Buckler

The single “Down in the Tube Station at Midnight” was one of the band’s most successful chart hits up to that point, peaking at #15 on the UK charts. In 2000, Q magazine placed All Mod Cons at number 50 in its list of the 100 Greatest British Albums Ever. I think it is The Jams most fully realised album, it is their best album.

British Invasion pop influences run through the album, most obviously in the cover of The Kinks’ David Watts and It’s too bad a song The Who would have been proud of.

To Be Someone (Didn’t we have a nice) time is an early jab at the rock’n roll lifestyle, about the hollow and empty life of a star, supposedly written after a horrible tour pairing in America with Blue Oyster Cult. The Bass line is a cool rip-of of Paul McCartneys bass line to “Taxman”.

All the tracks are really strong, great playing and great singing all around. The Production is unusually complex and sophisticated for a punk/new wave album.
The song “Down in the Tube Station at Midnight” is a first-person narrative of a young man who walks into a tube station on the way home to his wife, and is beaten by far right thugs. The lyrics of the song “All Mod Cons” criticise fickle people who attach themselves to people who enjoy success and leave them once that is over.

Track Listing:
1. All Mod Cons
2. To Be Someone (Didn’t We Have A Nice Time)
3. Mr. Clean
4. David Watts
5. English Rose
6. In The Crowd
7. Billy Hunt
8. It’s Too Bad
9. Fly
10. The Place I Love
11. A Bomb In Wardour Street
12. Down In The Tube Station At Midnight

This deluxe repackaged, remastered edition contains single b-sides, demos and rarities. It also features a new film, The Making Of All Mod Cons, with new interviews, promo clips, and previously unseen live footage.