The Jam Scrapbook Two

I have been completely blown away by the response I had to the first scrapbook featured here on my blog dedicated to The Jam. I feel privileged to have been able to share some of the incredible information people have sent me, and it seems to be something of an ongoing project as more people are coming forward with memorabilia and memories. The first scrapbook has almost doubled in size from what it was when I originally posted it.

This second scrapbook covers the years 1979 and 1980 and it has been an absolute joy and a pleasure to compile. The reason I say this is because if I had to pick out my personal favourite period of the band’s career, it would be late 1978 through to 1980. In my opinion the flames burned a little brighter on both the singles and album front for the whole of this period.

I just know you are going to love some of the stories and memorabilia I have in store. So without further ado, let’s get cracking…

In an interview with The Guardian in 2015 Paul Weller stated he has written three perfect songs throughout his career. Strange Town was one of the songs he named. It also happens to be the first single I purchased by The Jam. For that reason it has a particularly special place in my heart.

I remember when it was released rushing to buy the single from the HMV shop in Hull. I couldn’t wait to get it home and on the turntable, and I wasn’t disappointed. In fact I was enthralled.

From the melodic yet thundering opening guitar sounds through to the very last frantic note this song carries you along. You can actually feel the sense of loneliness and despair reflected in every line both musically and lyrically. 

The crescendo comes midway through the song with these powerful lyrics:

I've finished with clubs where the music's loud

'Cause I don't see a face in a single crowd

There's no one there

I look in the mirror

But I can't be seen

Just a thin, clean layer of Mister Sheen

Looking back at me

Oh, oh

Oh, oh, oh, oh, oh...

I recently posted on Twitter about Strange Town and one of my followers – Chris Bardell – perfectly summed up the effect of this incredibly emotive section of the song.

“Top-drawer Weller lyrics. Loneliness and isolation of moving to a place where you don't know anyone, and he phrases it so well. The lad can write :-) The whole stompy multi-layer outro following that section is heart-thumping.”

To this day, when I hear that oh so powerful intro I still get a shiver of excitement run through me. It is quite simply a masterpiece.

Below is an advert for Strange Town featuring one or two other famous faces from a March 1979 issue of Sounds.

The following review of Strange Town also appeared in the pages of Sounds.

At this point I should mention that all of the features from Sounds in this post have been provided by Stephen Chivers. If you want to see some of the fascinating clippings that Stephen shares on Twitter, he can be found here.

I clearly recall after first listening to Strange Town several times, flipping over the disc and listening to the B side - The Butterfly Collector. I was mesmerised and even a little unnerved by the cutting lyrics and haunting melody. To me this track has always stood out as being something altogether different.

There has been many a discussion among fans of The Jam about which track should have been the A side. To satisfy both camps, here's a photo of the US single where The Butterfly Collector was the A side and Strange Town the B side. The disc has been provided by Steve Hinders. 

For those not already aware, Steve and I jointly wrote a post about The Jam, Paul Weller and Riot Stories publications last November. In it Steve spoke about a gig he attended in Cleveland, Ohio in 1979. This promo copy of the US release was issued at the gig by a local radio station.

To round off this Strange Town extravaganza here is a Japanese import single sent by David Bentley along with lyrics. You will notice several more of David’s Japanese imports throughout this post.

In the November post mentioned above Steve Hinders mesmerised me and many other people with the story of how he was present during the recording of Setting Sons at the legendary Townhouse Studios in Shepherd’s Bush. To me it felt like I was witnessing the stuff of dreams as I added one photo after another from Steve’s amazing collection to the blog. However there were a few snaps I held back in reserve and here they are:

The first photo is one Steve took of Paul Weller as he was sat listening to a playback of Burning Sky. I wonder what was going through his head? It was history in the making...

Pictured below: (1) the Towhouse studio board. (2) A guitar strings packet Steve found on the floor. (3) Hoffner bass and Rickenbacker guitars.

Here are two reviews of Setting Sons. The first was written by Pete Silverton and the second by Paulo Hewitt.

Fast forward to 2014 and the past meets the present with these excellent photos of the Setting Sons box set provided by Bruce Body. Check out some of those previously unreleased recordings and memorabilia! It’s like going into Jam heaven!

When I was writing my fanzine, there was more than one occasion when an impromptu gig review was scribbled on the back of a beer mat or an empty cigarette packet. Sometimes it was a case of needs must, as was the case when Paul Pender got Paul Weller to sign his autograph on this discarded Embassy Regal packet.

Two more press adverts from the pages of Sounds in 1979.

Saturday’s Kids is not only consistently in my top five songs by The Jam, but it’s also in my top five songs of all time. In my opinion it could easily have been released as a single here in the UK. I was particularly pleased when Paul Pender shared this US import single.

It's a known fact The Jam never met with the same levels of success in the USA as they did here in the UK. There were a number of different contributing factors. It has always been something that has fascinated me, which was why it was such an interesting experience to connect with Steve Hinders and work with him on the blog post. Although the comparatively small number of US fans who witnessed The Jam live were equally as dedicated as their UK counterparts it must have been a very different experience for the band themselves when they ventured across the pond.  

I remember reading a number of features in the UK music press at the time about The Jam's time spent touring the US, however something we didn't get to see very often was the reviews published in the US music press about the band from a US perspective.  

The press cuttings below provided by Steve Hinders make really interesting reading. The first is taken from Rolling Stone, the second is from Circus and the third, dated 1980 is from New York Rocker.

Carolyn Perry is an expert at unearthing rare music related treasures online. For anyone interested in punk and new wave gig history I strongly recommend you follow Carolyn on Twitter. To add to the US section of this scrapbook, Carolyn  came across this review of a gig by The Jam at the Palladium in New York in 1980. The rather lukewarm review featured in Record Mirror. 

Steve Hinders caught The Jam on the same US tour. These two fantastic photos taken by his friend Louise Smith were taken in Detroit. More of Louise's photos and Steve's memories about the gig can be found here.

The backstage pass from the Santa Monica gig, also on the same tour was shared by Sid.

Here is the full collection of David Bentley's Japanese import singles, where The Jam had a very loyal fan base.

The first bootleg cassette to feature in the scrapbook has been provided by Wiff Smith. ‘Back To The Modern World’ was recorded at the Pink Pop festival in Geleen, Holland in May 1980 and the Vredenburg Concert House, Utrecht, Holland in December 1980.

Wiff bought the tape before a Jam gig at Nottingham University in 1981. His recollections will trigger some memories for gig-goers of the era.

There was the usual array of dodgy hawkers outside the venue selling their array of unlicensed tat that you got in those days. There was one guy selling cassettes. It was always a bit of a gamble buying off people outside gigs. Sometimes you would buy a tee shirt and by the time you got home the transfer had peeled off or the seams would be coming undone after 5 minutes of wearing it. Likewise you could buy a cassette and when you played it there would be nothing on it or someone like Andy Wiliams crooning to you.

Anyway I was charged £1 for this one and it was a cracking recording, from the mixing desk or similar. I was supposed to have gone to the festival where it was recorded but a couple of days before going I fractured my ankle at a gig and was unable to put any weight on it. I was gutted. 

The Jam were front page news in many music papers throughout 1980 particularly. How many people remember this iconic photo of Pete Townshend and Paul on the front cover of Melody Maker taken by Janette Beckman? 

Paul Pender managed to dig out the accompanying feature for me from his box of memorabilia about The Jam.

Carolyn Perry tracked down this advert for Going Underground that appeared in Record Mirror around the time the single was released. This immediately triggered a memory.

I remember reading about the date that Going Underground was due to be released in one of the music papers and from the moment I became aware of it, I was determined to have a copy in my hand on the actual release date. 

I decided to take a day off work so I could travel down to London on the train. The sole reason for my visit was to buy Going Underground. I'm pretty sure I could have bought a copy a little closer to home but there was added kudos to being able to tell my friends I'd bought the single from the flagship HMV store in Oxford Street as opposed to one of the local record stores. 

There was a long queue of people outside the shop when I arrived, all waiting to grab their copy of Going Underground too. 

I was delighted when I finally reached the till and was handed one of the live three track EPs referred to in the advert above. Having not seen The Jam live at that point in time, to have a live recording in my hand was something else!

Whilst I was stood waiting in that queue outside the HMV I never dreamed that 41 years later I would be sharing a rare promotion copy of Going Underground with like minded people all over the world. Thank you to Pete for once again delivering the goods on the rare vinyl front.

And to finish the Going Underground party here is a review of the single that appeared in Sounds.

The amazing story of how Steve Hinders stayed at the home of the Weller family when he followed The Jam on the Sound Affects tour in 1980 is fully documented in our November post.

Here are some of Steve's exclusive photos taken at the Sound Affects post tour party in December 1980.

|Joe Malone and Paul

Paul's friends Roger Pilling and Steve Carver

Paul playing bass

Roger Pilling with John Weller

Dave Liddle, guitar tech

Interestingly, I found a video on You Tube for See Saw (the B side to The Eton Rifles) which I shared with Steve. He believes that much of the footage was taken on the Sound Affects tour.

Sound Affects in red vinyl courtesy of Pete

I know I am almost certainly repeating things I've said before, but to introduce the next story I have to say it again... Even though Paul Weller was the driving force behind me starting a fanzine in 1983, one of my biggest regrets was that I was too late in the day to ever be able to include what I call a “current” feature on The Jam. I know the band were very obliging towards fanzine writers. Paul also contributed pieces of writing to various publications and was a big supporter of the DIY culture.

When researching one of my regular “Weller Wednesday” posts on Twitter recently I became aware of a 1980 edition of a fanzine called Shake that included an interview with The Jam.

One thing led to another when fellow fan Chris Haggarty spotted my tweet and told me he was present the day the fanzine interview took place at the Townhouse Studios.  It was Bruce Foxton’s birthday and the band were recording Sound Affects.

Chris has very kindly shared the full back story. I have to say I particularly love the part about the chewing gum!

Boy About Townhouse

Growing up with The Jam is something I will be eternally grateful for. They had such a profound impact on my adolescent years and shaped me in a way that no other band, or indeed movement, could ever come close to doing.

From my first gig at the tender and impressionable age of 14 in December 1979 Setting Sons Tour, to being on the guest list for The Jam’s last gig in Brighton in December 1982, I spent many a happy day / night following Paul, Bruce and Rick up and down the country, none more so than on one unseasonably warm sunny September day in 1980.

Having already been to a number of Jam gigs that year, most notably the double header at The Rainbow, we (by that I mean my older sister and her three friends) were scouring the music press for information on any upcoming gigs for the latter part of the year. We stumbled across some small print that mentioned that The Jam were recording their fifth studio album (later to be known and loved as Sound Affects ) at Townhouse Studios in London.

The summer holidays were coming to an end and the stark reality of going back to school was starting to sink in. We were in desperate need of one more “Jam fix” before heading back to school.

So on September 1st 1980 instead of boarding the school bus, we boarded a train from Kettering station bound for St. Pancras, none of us really knowing what the day would have in store.

We arrived at Townhouse Studios, a fairly unassuming and discreet building in Shepherds’ Bush around late morning and it was a bit like “shit, what now?”

We recognised a few faces coming in and out of the building (mainly guitar/tour roadies we’d seen at previous and sound checks) so we knew we were in the right place at least!

As we approached the front entrance (bricking it!) we had no idea what we were going to say or do but we walked right on in and up to the reception area. I remember stuttering and stammering

As I asked the disapproving reception/security staff if it was OK to come in, but before they had the chance to politely tell us to “do one”, Dave Liddle (RIP) Paul’s guitar roadie (technician) happened to walk past.

Thankfully we had met Dave on a few occasions before so he recognised us. I said hello and cheekily asked him if there was any chance we could come in. He smiled and rolled his eyes all in one movement and barked, “Wait here” as he disappeared down a corridor and through a set of swing doors.

The next five minutes seemed liked a lifetime as we waited patiently, our fate being entirely in Dave’s hands. To our delight Dave eventually reappeared and waved us through. We couldn’t believe our luck.

My very first memory as we entered the studio was of Bruce sitting back on a chair with his feet up on the mixing desk. Next to his feet, strangely and slightly out of place, was a fresh unopened 24 can cardboard tray of SKOL lager – it was Bruce’s 25th birthday and he was going to enjoy it.

We said hello and I think my sister wished him a happy birthday followed by a fairly awkward exchange of nervous chat.

As I scanned the room I could see Rick messing around with a set of symbols I think. He looked up and smiled but carried on with his tinkering.

Through the smoked glass windows I could see Paul sitting down and chatting with a couple of similarly aged kids to us. It later transpired that these guys were in fact Dom and Tim from the Fanzine SHAKE and the interview appeared in issue #10.

After the interview was over Paul came back into the main part of the studio but we still kept our distance and stood quietly, trying to be all cool and blasé. I was only 15 at the time so you can imagine how I was really feeling.

We managed to maintain our composure making sure that we weren’t in the way or being a nuisance. We didn’t want to get chucked out before we had the chance to spend some time with PW.

It wasn’t long before Paul walked over to us and said hello. We had all met him a few times before and whether he actually remembered you or not, he always gave you the impression that he did. I suppose that was one of the endearing features of The Jam, they always had such an amazing connection with their fans and made you feel immediately at ease.

The warm autumn sun was beating through an open fire escape door that led to a black iron staircase and into a small enclosed courtyard at the side of the studios. Paul suggested that we carried on our conversation outside to enjoy the weather and who were we to argue!

Paul was wearing a pair of lilac Levi’s with a button down shirt in a slightly lighter shade of lilac, a tough look to pull off but as always PW nailed it.

We chatted about the new album (at that point untitled I think), the inspiration and the ideas behind the songs and how the tours of the US and Japan had gone over the past few months. He was really relaxed and we all just sat out on the steps chatting.

Unfortunately I remember making a tit of myself by asking Paul what a “snort” was – referencing the line from Strange Town – “I stop off in a back street, buy myself a snort”. I was after all only a naive 15 year old from the sticks, Paul answered in a very polite and non-judgmental way and we moved on quickly!

At that point one of the studio team thankfully popped his head out the fire escape door and summonsed Paul to come back inside. I was in the middle of handing out some Wrigley’s chewing gum as he got up to go and before I could offer one to Paul, he asked if he could have a stick. Of course it was my pleasure and a thrill for me!

That single insignificant moment lead to a tale that my long suffering wife and two daughters are sick to death of hearing.

Paul was actually being called back in to lay down the vocals and guitar for “Boy About Town” as it was done on that one take (remember the cough at the beginning?) I tell everyone that will listen and even those who won’t, that Paul is chewing the gum that I gave him when they recorded that track. Little things please little minds and all that!

We spent a few more hours at the studios as there was a nice café/bar area upstairs with a pool table and we were made to feel welcome by everyone there. Mid-afternoon we decided to head for the train station, always conscious of not overstaying our welcome. We said our goodbyes, remembering to thank Dave once again for getting us in! That day September 1st 1980 is still one of the best memories I have of growing up with The Jam and it paved the way for a few more amazing encounters with Paul, Bruce and Rick over the next couple of years. The album and SHAKE issue 10 will always have a special place with us.

To finish this unashamed nostalgia trip here is something incredibly special. 

I did a double take when I stumbled across some photos Jack London shared on Twitter a little while ago of the legendary secret gig The Jam performed at the Woking YMCA in February 1980. I clearly remember reading about this shortly after the event and wishing with all my heart I could have been in the audience.

I immediately messaged Jack for more info and it turned out he was in the audience! He has kindly shared the full story below along with the incredible accompanying photos. It is the stuff of legends!

I was living in Woking, having moved there from nearby Addlestone, yet still travelling the seven miles or so daily back to my old town for my final school year. Living in Woking almost gave me some sort of ‘celebrity’ status compared to dreary Addlestone. It was a virtual metropolis that had its own cinema, leisure centre, football club and most importantly record shops!

Ironically, the rumour of The Jam playing a secret gig at Woking YMCA came to me from someone back in Addlestone. A tip off from a mate’s older brother. And being the Woking ‘resident-in-chief’ I was dispatched  to the YMCA on my school journey home to determine the truth, armed with wads of hard earned ‘milk round’ cash that eager punters pressed into my hands, in the hopes of nabbing a ticket.

A good few of us had already started to attend some gigs by then, primarily the visiting ‘punk’ bands who played at the Guildford Civic Hall (The Members, The Specials and Dexys were among my scalps already), but The Jam were a different proposition and the thought of a secret gig on our doorstep was an ‘event’ in waiting, not to be missed! 

Upon arrival at the very mundane YMCA I was shown into an office where I saw a handwritten poster on the wall advertising a fundraising ‘all night disco’ along with special guests, ‘The Jam Sandwiches’.

”Is that the Jam playing on that night then mister?” I asked hopefully, terrified that I might part with my chums’ life savings for some dreaded impostor or worse!

“Well you’ll have to find out won’t you?” came the helpful reply.

My mind worked furiously.

“Erm I’ll have nine please.”

Imagine my relief when the tickets displayed the true name of our heroes and I was able to return to school the next day and enjoy my turn in the spotlight.

Come the big night, it was everything we could imagine. It was completely packed, the hall a small gym barely bigger than a badminton court, and outside there was a large gathering of ticket-less punters, which only added to the excitement.

The band (who would shortly set sail on a US tour) were travelling light. It’s possible even that they were playing through the disco sound system rather than a full PA, although none of this mattered to the lucky few crammed inside. There was no stage and somehow we managed to worm our way to the very front, just in front of Bruce Foxton, as you can see from the photos. These were taken by one of my mates and later copied to everyone in our gang via a quick outing to Boots the Chemist.

I only have magical memories of the gig itself, but in truth it must have sounded pretty ropey, not that we cared due to the excitement and close proximity of it all. I daresay they didn’t play for very long either, albeit furiously enough for Weller to have to remove his top for the second half, as the sweat was bouncing off the walls at that point!

They performed (as I recall) fantastic tunes from Setting Sons like Private Hell plus a smattering of All Mod Cons and earlier material including Tube Station, David Watts, Modern World and interim singles like When You’re Young.

Afterwards Paul was nowhere to be seen but I do remember Bruce and Rick mingling with the crowd. Rick especially was in good form as we baited him that the green and red boating blazer he was wearing was not quite up to the standard of my best mate’s blue and yellow number, proudly sported that night. We stood both him and Rick together to compare.

The all-night disco then took over but carried no appeal with us. It was noticeable that the place had already half emptied as we poured out into the night, still reeling from what we had just witnessed. Everyone piled back to mine for the night, much to the horror of my parents. I had spectacularly failed to tell them how many I’d bought tickets for!

The innocuous YMCA is still there today, quite remarkably given the drastic development overhaul the town centre has undergone. It sits barely a minute’s walk from the station, very secretive of its history on that remarkable occasion. Within weeks Going Underground had been released and The Jam were officially recognised as the biggest UK band since the Beatles. It only reinforced how lucky we were.

I hope you have enjoyed joining me as I once again ride the nostalgia train. I am really looking forward to making a start on the final scrapbook covering the years 1981 and 1982 so watch this space. Special thanks to everyone who has contributed. Keep those treasures coming!

If you would like to join me on Twitter here are the links.

Kindred Spirit Fanzine    Jill Webb Words

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