Jam – That’s Entertainment 

I learned about these guys from a friend’s brother, who introduced me to Big Star, The Clash, and The Dead. They had export albums that no one else I knew had at the time. There was no Spotify…you had to work for it. You had to hunt songs and albums down. It made it that much better when you heard them. 

I wrote this for another Jam song a while back and it holds true: Sometimes people say…oh this or that band was just too British. I never found a fault in that and wanted more British bands.  But…if ever a band could be considered “too British” this may very well be the band. But I want more…

This is one of those rare songs that doesn’t just describe life, it feels like life. Weller wrote it in a single night after stumbling home drunk (“Coming home pissed from the pub”), acoustic guitar in hand. And you can tell, the lyrics have that bleary, late-night poetry, where ordinary objects take on greater significance. A “policeman’s baton,” “a smash of glass,” “a freezing cold flat”  these aren’t metaphors, they’re scene-setting. There are strong Ray Davies vibes going on in this, with working-class life. 

He’s not glorifying his world; he’s documenting it. And in doing so, he’s creating a kind of working-class poem, a collage of British life with all the glamor scratched off. This is why I love the Kinks, the Who, and other bands that deal with everyday life. I would include Squeeze in there as well. 

They formed in 1973 and released their first album in 1977. Their members included guitarist Paul Weller, bassist Bruce Foxton, and drummer Rick Butler. Paul Weller is the best known out of the band, but they were all great musicians. Being a bass player…I’ve noticed a lot of Foxton’s bass playing is terrific.

The song was released in 1981 and peaked at #21 on the UK Charts and #34 in New Zealand. The song was on the album Sound Affects, which peaked at #2 on the UK Charts, #72 on the Billboard 200, #39 in Canada, and #2 in New Zealand. 

Paul Weller: “It was just everything that was around me y’know. My little flat in Pimlico did have damp on the walls and it was f–king freezing. I was doing a fanzine called December Child and Paul Drew wrote a poem called ‘That’s Entertainment.’ It wasn’t close to my song, but it kind of inspired me to write this anyway. I wrote to him saying, Look is it all right if I nick a bit of your idea, man? And he said, It’s fine, yeah.”

Thats Entertainment

A police car and a screaming sirenA pneumatic drill and ripped up concreteA baby wailing and stray dog howlingThe screech of brakes and lamp light blinking

That’s entertainmentThat’s entertainment

A smash of glass and a rumble of bootsAn electric train and a ripped up phone boothPaint splattered walls and the cry of a tomcatLights going out and a kick in the balls

I say, that’s entertainmentThat’s entertainment

Days of speed and slow time MondaysPissing down with rain on a boring WednesdayWatching the news and not eating your teaA freezing cold flat and damp on the walls

I say that’s entertainmentThat’s entertainment

Waking up at 6 a.m. on a cool warm morningOpening the windows and breathing in petrolAn amateur band rehearsing in a nearby yardWatching the telly and thinking about your holidays

That’s entertainmentThat’s entertainment

Waking up from bad dreams and smoking cigarettesCuddling a warm girl and smelling stale perfumeA hot summer’s day and sticky black tarmacFeeding ducks in the park and wishing you were far away

That’s entertainmentThat’s entertainment

Two lovers kissing amongst the scream of midnightTwo lovers missing the tranquility of solitudeGetting a cab and travelling on busesReading the graffiti about slashed seat affairs

I say that’s entertainmentThat’s entertainment

Jam – Down In The Tube Station At Midnight

I found The Jam around the time I found Big Star. An older brother of a friend of mine played some albums by them in the early 80s. Another band that could not make the jump to America. Sometimes people say…oh this or that band was just too British. I never found a fault in that and wanted more British bands.  But…if ever a band could be considered “too British” this may very well be the band.

This song about a brutal mugging in London became a classic. The song is on the album All Mod Cons which was released in 1978. It was their third album since May of 1977 when their debut was released. They would release six studio albums in the five years they were around making records.

The song gave them their second top-20 hit. It peaked at #15 in the UK in 1978. Paul Weller, who wrote most of the Jam’s songs, wasn’t going to include it on the album. He didn’t think the song was developed enough but producer Vic Coppersmith-Heaven finally convinced him to work on it and include it.

Jam - Down in the Tube Station At Night back cover

The single cover showed the band and the back cover had a picture of Keith Moon who had just died. The B side to the song was The Who’s So Sad About Us. The Jam was in the middle of the 1970s Mod Revival going on. You can see and hear The Who and other sixties bands’ influences in their music and videos.

They formed in 1973 and released their first album in 1977. Their members included guitarist Paul Weller, bassist Bruce Foxton, and drummer Rick Butler. Paul Weller is the best known out of the band but they were all great musicians. Being a bass player…I’ve noticed a lot of Foxton’s bass playing is terrific.

Although The Jam was at the height of its popularity, Weller was becoming frustrated with the trio’s sound and made the decision to disband the group in 1982.

Producer Vic Coppersmith-Heaven“I remember Paul throwing certain songs out of the All Mod Cons album, like ‘Down in the Tube Station’, which he rejected largely because the arrangement hadn’t developed during the recording session. I said, ‘Hang on, I haven’t even read the lyrics yet, Paul… You should really work on this song, it’s great.  I was insistent on him reviving it, and once the band got involved and we developed the sound it turned into an absolutely brilliant track, a classic. Maybe we would have come around to recording it later on in the project, but he’d just reached that point of ‘Oh bollocks, this isn’t working, it’s a load of crap.'”

The B side…So Sad About Us     (I like it just as well as the A side)

Down In The Tube Station At Midnight

The distant echo
Of faraway voices boarding faraway trains
To take them home to
The ones that they love and who love them forever
The glazed, dirty steps
Repeat my own and reflect my thoughts
Cold and uninviting, partially naked
Except for toffee wrappers and this morning’s papers
Mr. Jones got run down
Headlines of death and sorrow, they tell of tomorrow
Madmen on the rampage
And I’m down in the tube station at midnight, oh

I fumble for change, and pull out the Queen
Smiling, beguiling
I put in the money and pull out a plum
Behind me
Whispers in the shadows, gruff blazing voices
Hating, waiting
“Hey boy” they shout, “Have you got any money?”
And I say, “I’ve a little money and a takeaway curry
I’m on my way home to my wife
She’ll be lining up the cutlery, you know she’s expecting me
Polishing the glasses and pulling out the cork”
I’m down in the tube station at midnight, oh

I first felt a fist, and then a kick
I could now smell their breath
They smelt of pubs, and wormwood scrubs
And too many right wing meetings
My life swam around me
It took a look and drowned me in its own existence
The smell of brown leather
It blended in with the weather
Filled my eyes, ears, nose and mouth, it blocked all my senses
Couldn’t see, hear, speak any longer
I’m down in the tube station at midnight, oh
I said I was down in the tube station at midnight, oh

The last thing that I saw as I lay there on the floor
Was “Jesus saves” painted by an atheist nutter
And a British rail poster read
“Have an away day, a cheap holiday, do it today”
I glanced back on my life, and thought about my wife
‘Cause they took the keys, and she’ll think it’s me
I’m down in the tube station at midnight
The wine will be flat and the curry’s gone cold
I’m down in the tube station at midnight, oh
Don’t want to go down in a tube station at midnight, oh
Don’t want to go down in a tube station at midnight, oh
Don’t want to go down in a tube station at midnight, oh
Don’t want to go down in a tube station at midnight, oh

Jam – In The City

As with the Buzzcocks…I had friends with Jam albums and that is how I found out about them.

This was their first single and introduction to the Jam and singer/guitarist and Jam songwriter Paul Weller. Weller wrote this song and borrowed the title from a Who single I’m A Boy with the B side In The City.

It was released in 1977 and peaked at #40 inn the UK Charts. This was their first Top 40 single and the beginning of their streak of 18 consecutive Top 40 singles. The single came off the album of the same name. The album peaked at #20 in 1977.

The song’s opening bassline re-appeared a few months later on the Sex Pistols’ single “Holidays in The Sun.” Weller had a fight with Sex Pistols bassist Sid Vicious in the Speakeasy Club over stealing the riff.

Paul Weller: “We had a different sort of birth to a lot of the bands, our contemporaries of that time. Because we’d been playing for five years – pubs and working men’s clubs and anywhere that would have us really. I’d been plating since I was 14, sort of semi-pro if you like. So I never got the thing about not turning your guitar.”

“I wrote this after I’d seen the Pistols and The Clash and I was obviously into my Who phrase. I just wanted to capture some of that excitement.” “It was a big tune for us. We’d open our set with it, we’d probably play it at the end and if we could get an encore, we’d play it again. The reaction it got from the audience, we knew it was a big tune.”

“I’m not sure about some of the lyrics in … I was 17, 18 man. But it was a good youth anthem, I thought.”

From Songfacts

While only a minor hit on the charts, this mod/punk number is well remembered for serving as England’s first introduction to singer/guitarist and Jam songwriter Paul Weller. The song’s #40 chart position when the song was first released marked the beginning of his band’s streak of 18 consecutive Top 40 singles. After their breakup in 1982, Weller would continue to notch up chart entries well into the 21st century firstly with Style Council, then under his own name.

Weller was only 18 when he penned this celebration of youth in the big city. He recalled writing this song to Q magazine April 2011: “It was the sound of young Woking, if not London, a song about trying to break out of suburbia. As far as we were concerned, the city was where it was all happening; the clubs, the gigs, the music, the music. I was probably 18, so it was a young man’s song, a suburbanite dreaming of the delights of London and the excitement of the city. It was an exciting time to be alive. London was coming out of its post-hippy days and there was a new generation taking over. The song captured that wide-eyed innocence of coming out of a very small community and entering a wider world, seeing all the bands, meeting people, going to the clubs, and the freedom that it held.”

The single has the particular distinction of reaching the UK Top 50 on four different occasions. The song originally peaked at #40, then when “Going Underground” became the group’s first #1 single three years later, Polydor decided to re-issue all nine of the group’s prior singles and “City” was the only one to make the Top 40 again, peaking at #40 for a second time. After the group’s breakup at the end of 1982, the record company re-issued every single of the band’s career in early 1983 and this time “City” peaked at #47. Finally, in May 2002, Polydor decided to commemorate the 25th anniversary of The Jam by re-releasing their debut single in its original packaging, in its original 7″ vinyl record format, and at its original price of 75 pence. The limited pressing sold out immediately, this time peaking at #36, higher than it ever did in its original release and two subsequent reissues.

In The City

In the city there’s a thousand things I want to say to you
But whenever I approach you, you make me look a fool
I want to say, I want to tell you
About the young ideas
But you turn them into fears

In the city there’s a thousand faces all shining bright
And those golden faces are under 25
They want to say, they gonna tell ya
About the young idea
You better listen now you’ve said your bit-a

And I know what you’re thinking
You still think I am crap
But you’d better listen man
Because the kids know where it’s at

In the city there’s a thousand men in uniforms
And I’ve heard they now have the right to kill a man
We want to say, we gonna tell ya
About the young idea
And if it don’t work, at least we said we’ve tried

In the city, in the city
In the city there’s a thousand things I want to say to you