The Jam

465. The Jam – Start! (1980)

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The Intro

Love The Beatles’ Taxman but find the whining about paying HMRC when you’re in the biggest band in the world a bit annoying? Simple, listen to The Jam’s second number 1, Start! instead.

Before

Following the success of Going Underground/The Dreams of Children, The Jam set to work on their fifth LP. Vic Coppersmith-Heaven was back to produce Sound Affects, but for the first time, Paul Weller, Bruce Foxton and Rick Buckler received a co-credit too – albeit as ‘The Jam’. As signposted with The Dreams of Children, The Jam were widening their sonic palette, and after its release, Weller described his favourite Jam album as a cross between Michael Jackson’s Off the Wall and The Beatles’ Revolver.

The influence of the latter is certainly evident on Start!, which was released in August while work continued on Sound Affects. Weller’s guitar and Foxton’s bass riffs were pretty much identical to the opening track of Revolver. George Harrison’s Taxman was an excellent opener to one of the greatest albums of all time, and showcased Harrison’s burgeoning talent. But as great as Taxman is, there’s no escaping the fact it also makes very evident how much of a moaner he could be. I’m sure paying an admittedly ridiculously high rate (95%!) of income tax to Harold Wilson’s new Labour government must have stung… and the Fab Four had been warned that despite their unprecedented fame, they were in danger of bankruptcy. But starting a new album complaining about money, when the average record buyer could only dream of their lifestyle? It’s certainly a bold move, and another sign that The Beatles were now charting their own path. But you can’t deny the musical brilliance of Taxman, particularly McCartney’s powerful rhythmic bass and blistering Indian-style guitar solo.

In a 2012 interview with Music Radar, Foxton said:

‘It wasn’t intentional, but Taxman subconsciously went in and when we came up with the idea for Start! that’s what went in. It isn’t exactly the same thankfully, otherwise I’m sure Paul McCartney would have thought about suing us!’

It’s not exactly the same, but you can’t get much closer. And considering the deluxe edition of Sound Affects also contains covers of Rain and And Your Bird Can Sing, recorded at the same sessions, it’s more likely that they jammed Taxman and enjoyed it so much, they reworked it. And they got lucky that Harrison, who had been to court over his 1971 number 1 My Sweet Lord in 1976 and lost more than a million in damages due to its likeness to He’s So Fine. He apparently considered Start! a compliment, but he probably didn’t relish going back to court over his music, this time as prosecution.

There are two main differences, and the main one is the lyrics. In Jon Kutner and Spencer Leigh’s 2005 book 1000 UK #1 Hits, Weller said he had been reading George Orwell’s Homage to Catalonia (1938), detailing the author’s experience of the Spanish Civil War:

‘There is a lot of talk of an egalitarian society where all people are equal but this was it, actually in existence, which, for me, is something that is very hard to imagine.’

With this in mind, it seems Start! may have been written from the point of view of a Republican soldier, who briefly meets a fellow believer in their cause. Knowing that they’re at risk of dying for their beliefs means they could only know each other for a few minutes, so they don’t need to know much about each other, apart from that they feel so strongly for their cause, ‘with a passion called hate’ against the Nationalists. The Republicans consisted of socialists, communists and anarchists, so there was as much infighting as seen within the Labour Party during Jeremy Corbyn’s time as leader.

‘And what you give is what you get’ can be seen as a rallying cry for the Republicans, and in line with Weller’s increasingly left-wing tendencies, perhaps a call for solidarity among Labour in 1980, as their left-wing leader Michael Foot wasn’t popular among the right of the party. Same as it ever was.

Or, it could just have been about a one-night stand, lasting all of two minutes. Take your pick.

Review

Another great 1980 number 1 from Weller and co here. It’s short, sweet and doesn’t outstay its welcome, just like Going Underground. And it also shows a growing versatility. Yes, it’s not very original, but the soul bounce of Start! proves there’s more to The Jam than their rockier material, and it really shows off how effective that rhythm section was. In a way they come out of this better than Weller, as his guitar solo doesn’t compare to McCartney’s on Taxman – even with that added backwards section. Great track though and a breath of fresh air, particularly the way it reverts back to the punch of the main tune after the last ‘If I never ever see you…’ section.

The video to Start! was a typically low-budget, straightforward affair focusing on the trio doing what they did best – playing music.

After

Polydor wanted album opener Pretty Green to be the first single, but The Jam pushed for Start! and were proved right when it spent a week at number 1. Sound Affects was released in November, featuring added (and unnecessary) trumpets as the song draws to a close. No other official singles were released from the LP, but The Jam were so popular, That’s Entertainment peaked at 21 as an import. However, it would be 1982 before they topped the charts again.

The Outro

The psychedelic pop of Sound Affects was soon abandoned with a focus on 60s R’n’B, later to be explored on their final album, The Gift.

The Info

Written by

Paul Weller

Producers

Vic Coppersmith-Heaven & The Jam

Weeks at number 1

1 (6-12 September)

Trivia

Births

6 September: Atomic Kitten singer Kerry Katona
11 September: Academic Anthony Carrigan
12 September: Rugby league player Kevin Sinfield

Deaths

6 September: Art curator Philip Hendy
7 September: Conservative Party MP Reginald Manningham-Buller, 1st Viscount Dilhorne
8 September: Northern Irish singer Eddie Butcher/Liberal Party MP Sir Geoffrey Shakespeare, 1st Baronet
10 September: Academic TE Jessop
11 September: Conservative Party MP Sir Harwood Harrison, 1st Baronet
12 September: Legal scholar Sir Rupert Cross

Meanwhile…

11 September: Chicago mobster Joseph Scalise and his colleague Arthur Rachel committed the Marlborough diamond robbery in London. The following day, the duo were arrested in Chicago, but the 45-carat stone has never been found.

12 September: Consett Steelworks in Consett, County Durham closed down, costing the town some 4,500 jobs.

455. The Detroit Spinners – Working My Way Back to You (1980)

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The Intro

After the state-of-the-nation address of Going Underground by The Jam, we’re back onto more familiar fare at the top of the hit parade. 26 years after their formation, soul group The Detroit Spinners were at number 1 with their cover of a Four Seasons hit from 1966.

Before

R’n’B outfit The Detroit Spinners, so-called in the UK to avoid confusion with the folk group The Spinners, were formed in the suburb of Ferndale, Michigan in 1954. Back then, the quintet, known as The Domingoes, consisted of tenor/baritone Billy Henderson, baritone Henry Fambrough, bass Pervis Jackson, lead tenor CP Spencer and co-lead tenor James Edwards. All five were friends who lived in Detroit’s Herman Gardens public housing project.

There quickly followed a number of line-up changes, as Edwards left after a few weeks to be replaced by Bobby Smith. Soon after, Spencer departed and George Dixon filled the gap. They renamed themselves The Spinners in 1961, which is when they released their debut single, That’s What Girls Are Made For on Harvey Fuqua’s Tri-Phi Records. It performed respectably for a first shot at the charts, reaching 27 on the Billboard Hot 100. Some sources suggest it was Fuqua on lead vocal.

Change was afoot in 1963, when Dixon was replaced by Edwards’ brother, James – known as Chico. Tri-Phi was then bought out by Fuqua’s brother-in-law, Berry Gordy, and The Spinners joined Motown Records, where they became billed as The Detroit Spinners here in the UK. I’ll Always Love You reached 35 in the US in 1965, but they were struggling, releasing one single per year for the rest of the 60s, while Gordy used the group as road managers and even chauffeurs for other, more successful Motown acts. GC Cameron joined The Detroit Spinners when Chico left in 1967.

After spending most of the last decade in the doldrums, Stevie Wonder, Syreeta Wright and Lee Garrett saved The Detroit Spinners with the classic It’s a Shame. Returning them to the Hot 100, where it peaked at 14, it was also their first UK hit, climbing to 20.

Finally, The Detroit Spinners were succeeding at Motown, but their contract was coming to a close. Aretha Franklin told them to sign with Atlantic, but Wonder was producing an LP for them as their contract winded up. It was never released, as The Detroit Spinners jumped ship. Due to contractual obligations, Cameron remained with Motown, and yet another line-up change occurred as he persuaded his cousin, Phillipé Wynne, to sign up in his place.

Franklin’s advice was spot on. Teamed up with Philly soul songwriter/producer Thom Bell, The Spinners became one of the biggest soul groups of the decade. In 1972 they reached 11 in the UK with Could It Be I’m Falling in Love? and a year later Ghetto Child peaked at seven. In 1974 Dionne Warwick joined them on Then Came You, which finished up at 29.

With fame came ego clashes. Wynne believed his lead vocals were why the group were now doing well, and wanted to change the name to Phillipé Wynne and the Spinners. The others refused, and so The Rubberband Man was their last hit with Wynne on board, who went solo and then teamed up with George Clinton. You can hear him on the Funkadelic classic (Not Just) Knee Deep. John Edwards filled his spot in The Detroit Spinners.

Following two years of dwindling chart positions, The Detroit Spinners and Bell parted ways, and they set their sights on a disco sound, with help from Michael Zager, who’s Michael Zager Band had a hit in 1978 with Let’s All Chant. Coming several years after the genre had been considered new and exciting, this might have seemed desperate and out of touch. But not for long, because in 1980, their cover of Working My Way Back to You (written by Sandy Linzer and Denny Randell) was combined with a new bridge by Zager. In some countries this hit single was billed as Working My Way Back to You/Forgive Me, Girl (medley).

Working My Way Back to You details a serial cheater’s attempt to get back with his girl after too much time having his cake and eating it. In 1966 and 1980, this character might have gained more sympathy than he’ll get from listening in 2023. Particularly the cheater’s confession that he used to get off on making his ex cry.

Review

The Detroit Spinners’ UK number 1 is an average dose of dated disco. The tune is an earworm, working its way into your head and staying there a fair while, but not in a very welcome way. The disco element seems tacked on in an attempt to update their sound. It’s no Rock Your Baby, where it’s at the heart of the song. The bass vocal line from Jackson is laughably old-fashioned. ‘Work’ is the operative word here, as workmanlike sums up this single. In a year of great chart-toppers, this is… well, it’s OK. It’ll do.

After

The next single by The Detroit Spinners nearly gained them two chart-toppers in a row, when Cupid/I’ve Loved You for a Long Time (medley) peaked at four. But from there it was downhill all the way, with no further charting singles here or in the US top 40s. Wynne died of a heart attack in 1984 aged 43, the same year that the group and Atlantic parted ways. Three years later the group released Spaceballs on the Mel Brooks’ film soundtrack of the same name.

The Detroit Spinners became regulars on the nostalgia circuit, and old age took its toll. Dixon died in 1994. Edwards left after a stroke in 2000, and Cameron rejoined as lead vocalist for a while, but jumped ship to The Temptations in 2003.

In 2003 The Detroit Spinners sort-of returned to the top of the charts, thanks to an old collaboration with Elton John. In 1977 the group recorded backing vocals for two versions of John’s Are You Ready for Love – one featuring them all, the other, just Wynne. The latter version was released as a single in 1979 but it bombed. 24 years later the track was remixed by Ashley Beedle and thanks in part to its use on a Sky Sports advert, it gave John his sixth number 1. It’s functional, pleasant enough 70s soul, so good enough to stand out in the charts of 03.

Further line-up changes ensued, and Henderson was dismissed in 2004 over a legal battle. That same year Spencer died of a heart attack at the age of 66. Henderson died from diabetes three years later, aged 67. Jackson, who was still touring with the group, died at the age of 70 from cancer in 2008. Smith died of complications from pneumonia and flu in 2013, aged 76.

In 2021 The Detroit Spinners released a brand new album – Round the Block and Back Again. Two years later, Fambrough, the sole surviving member from 1954, retired. The classic line-up, consisting of Fambrough, Smith, Jackson, Henderson, Edwards and Wynne, were inducted into the Rock and Roll Hall of Fame. The Spinners name continues, albeit without anyone from before 2009.

The Outro

Working My Way Back to You became Boyzone’s debut single in 1994. I could only manage about a minute of it, because it sounds exactly as you’d expect it to.

The Info

Written by

Sandy Linzer & Denny Randell

Producer

Michael Zager

Weeks at number 1

2 (12-25 April)

Trivia

Births

15 April: Actress Natalie Casey
25 April: Snooker player Lee Spick

Deaths

13 April: Physician Sir Arthur Massey
15 April: Actress Catherine Salkeld
16 April: Plant pathologist Lawrence Ogilvie 
17 April: Physicist John Saxton
19 April: Actor Tony Beckley
20 April: Diplomat Sir Stephen Holmes
23 April: Businessman Sir John Methven/Politician David Cleghorn Thomson

Meanwhile…

18 April: Zimbabwe becomes independent of the UK.

22 April: Unemployment is at 1.5million – a two-year high.

454. The Jam – Going Underground/The Dreams of Children (1980)

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The Intro

The Specials weren’t the only group successfully reviving a 60s musical movement as the 80s began. Mod power trio The Jam had been around several years before achieving this first of four number 1s. And yet, had it not been for an error at the pressing plant, Going Underground/The Dreams of Children might not have shot to the top spot.

Before

The Jam go back a fair few years than many realise, as singer and bassist Paul Weller began the band aged 14 in 1972, while still at Sheerwater Secondary School in Woking, Surrey. He was joined by Steve Brookes on lead guitar and vocals, Dave Waller on rhythm guitar and Rick Buckler on drums. But this was before the frontman discovered Mod, so The Jam’s setlist mostly consisted of early US rock’n’roll covers. Waller left in 1973 and was replaced by Bruce Foxton.

When Weller heard The Who’s debut album, My Generation, everything changed. He fell totally in love with becoming a Mod. He bought a Lambretta, made the band dress in sharp suits and they started covering Motown, Atlantic and Stax soul music.

In 1975, Brookes also left. Although The Jam advertised for a new lead guitarist (and among those auditioning was apparently a young Gary Numan), Weller decided to ape The Who’s line-up. He persuaded Foxton to switch to bass and he took over full guitar duties.

In 1975, rock music was often moribund. Punk had yet to arrive, so The Jam stood out on the London scene, capturing the imagination and perhaps reminding older gig-goers of happier times. When punk did appear, Weller, Foxton and Buckler were even more distinct – their smart appearance was totally different to the ripped, scruffy clothes of the Sex Pistols and co, and they were in thrall to the 60s. But like the Sex Pistols, The Jam were angry, energetic and distinctive.

They were signed to Polydor in 1977, and that April released their debut single In the City, which peaked at 40. But they struck a chord and their album with the same name was a number 20 hit. When second single All Around the World climbed to 13, Polydor asked for more material ASAP. They completed another LP that year, This Is the Modern World, but the (almost) title track Modern World only reached 36.

In 1978 News of the World (that’s right, three singles in row with ‘world’ in the name) fared better when it peaked at 27. This was the only single to be written and sung by Foxton, and later became the theme tune to BBC Two’s Mock the Week. A third LP was quickly planned, but Weller was struggling for inspiration and their producers dismissed Foxton’s material as poor. Weller became the principle songwriter from here on in.

The influence of The Kinks on The Jam, if it wasn’t already noticeable, certainly was when they released a soundalike cover of David Watts as a double-A-side with ‘A’ Bomb in Wardour Street. These first fruits of their third album All Mod Cons climbed to 25. The next single, Down in the Tube Station at Midnight, is highly regarded as a return to form both critically and commercially, and shot to 15. It also placed a large question mark over The Jam’s early reputation as Conservative poster boys. Where previously they sang about the decline of the British Empire and disparagingly about ‘Uncle Jimmy’ Callaghan, now Weller was talking about being mugged by thugs who had been to ‘too many right wing meetings’.

In 1979 two non-album singles, Strange Town and When You’re Young, peaked at 15 and 17 respectively. Then came the first song from the next LP, Setting Sons. The Eton Rifles was rightfully their biggest yet, soaring all the way to three. In 2008, future Conservative Prime Minister, the Etonian David Cameron, called himself a fan of the song back in the day, causing a furious Weller to state ‘it wasn’t a fucking jolly drinking song for the cadet corps’.

The Dreams of Children, recorded during the Setting Sons sessions but not on the LP, was to be their first single of the new decade. It wasn’t on the album, but considering the LP was originally a concept album about three childhood friends, perhaps it was intended to feature originally. It saw the trio broadening their sonic palette with producer Vic Coppersmith-Heaven, while the intended B-side was an angry tirade at the people in power.

However, there was a mix-up at the pressing plant, and this single became a double A-side. Because of this, radio DJs mostly preferred to spin the snappier, catchier, more immediate fare intended for side B.

Reviews

It seems obvious in retrospect that Going Underground deserved to be the A-side. And what a number 1 as the Thatcher era was just getting started. In just a few minutes, Weller succinctly wipes away any doubt of whose side he’s on. And he does it with no small measure of belligerence and fire in his belly. Over jagged guitar strikes, this reads like the manifesto of a man who is so sickened with the state of his country and its politics, he’s retreating from modern life. The only negative to this song is how it resonates even more now than it did in 1980, particularly ‘Some people might get some pleasure out of hate.’

The beauty of Going Underground is how The Jam make such a bleak message so uplifting. We shouldn’t be celebrating the need to opt out of society, but doesn’t it sound so good? And there is a small glint of hope as the song ends ‘Well, let the boys all sing and let the boys all shout for tomorrow’. Not that there’s much hope in 2023 – the other side aren’t offering much to get excited about as another election looms.

There have already been some classic number 1s in the first quarter of 1980. This is the best of the bunch, ahead even of Atomic.

The fact there’s a video for Going Underground is puzzling. If this was always intended as a B-side, why is there one at all? However, the fact both mostly feature the band performing in front of a white background wearing very similar clothes suggests it could have been filmed in the same session. The Going Underground film is one of the most enduring images of the young, angry Weller, resplendent in a scarf, interspersed with images of Uncle Sam, atomic explosions and photos of Conservative Prime Ministers (plus, interestingly, Labour’s Harold Wilson), pushed to one side.

The Dreams of Children is a decent track too, but I doubt it would have become their first chart-topper on its own. Opening with backmasking from Setting Sons track Thick as Thieves, it’s an early sign of Weller’s love of psychedelic rock, and the lyric is akin to songs from that era about loss of innocence, like Pink Floyd’s Remember a Day.

Like Going Underground, The Dreams of Children paints a bleak picture – bleaker in fact. And very true, because Weller explains how he had a glimpse of optimism in his dreams, before waking up ‘sweating from this modern nightmare’. The closing refrain of ‘You will choke on your dreams tonight’ paints a very bleak picture. Interesting stuff, with some nice bass playing from Foxton.

The video is less simple than Going Underground, cutting between the band playing outdoors, hanging out near somewhere derelict and performing once more against a simple white background but with added camera and lighting equipment.

After

The Jam were touring the US to small crowds when they heard Going Underground/The Dreams of Children had made it to number 1. They immediately returned home and prepared for a triumphant Top of the Pops appearance.

The Outro

A version of Going Underground by US rock band Buffalo Tom climbed to number six in 1999, as a double A-side with a version of Carnation by Liam Gallagher and Steve Cradock.

The Info

Written by

Paul Weller

Producer

Vic Coppersmith-Heaven

Weeks at number 1

3 (22 March-11 April)

Trivia

Births

23 March: Comedian Russell Howard
24 March: Sports presenter Amanda Davies
28 March: Labour MP Angela Rayner
3 April: Fascist Conservative MP Suella Braverman
8 April: Actor Ben Freeman/Scottish field hockey midfielder Cheryl Valentine

Deaths

22 March: Historian Evelyn Procter
23 March: Journalist SW Alexander/Royal Navy admiral Sir Henry McCall/Labour MP Charles Pannell, Baron Pannell/Red Cross aid worker Joan Whittington/Racehorse trainer Norah Wilmot
24 March: Actor John Barrie
26 March: Army major-general Basil Coad/Botanist Lily Newton
30 March: Labour MP Francis Douglas, 1st Baron Douglas of Barloch/Trade union leader Jim Hammond
22 March: Historian Evelyn Procter
23 March: Journalist SW Alexander/Royal Navy admiral Sir Henry McCall/Labour MP Charles Pannell, Baron Pannell/Red Cross aid worker Joan Whittington/Racehorse trainer Norah Wilmot – Evelyn Procter, historian (born 1897)
24 March: Actor John Barrie
26 March: Botanist Lily Newton
30 March: Labour MP Francis Douglas, 1st Baron Douglas of Barloch/Trade union leader Jim Hammond
31 March: Actor John Nightingale
1 April: Actress Cicely Courtneidge/Director Alfred Hitchcock/Actress Joyce Heron
2 April: Long distance runner George Wallach
3 April: Geophysicist Sir Edward Bullard/Actress Isla Cameron/Army major-general Sir Alexander Douglas Campbell/Chemist Ulick Richardson Evans
5 April: Scottish composer Hector MacAndrew
6 April: Film director Antony Balch/Writer John Collier/Philosopher Sir Thomas Malcolm Knox
8 April: Horticulturalist Beatrix Havergal
10 April: Writer Antonia White
11 April: Legal historian Norman Hargreaves-Mawdsley/Actor Nicholas Phipps

Meanwhile…

25 March: The British Olympic Association votes to send athletes to the Olympic Games in Moscow, USSR, in the summer, in defiance of the government’s boycott.
Also on this day, Robert Runcie becomes the Archbishop of Canterbury.

26 March: On Budget Day, Chancellor Geoffrey Howe announces raises in tax allowances and duties on petrol, alcohol and tobacco.

31 March: British Leyland agrees to sell its MG factory in Abingdon to Aston Martin-Lagonda in the autumn.

1 April: The steelworkers’ strike is called off, and Britain’s first official naturist beach is opened in Brighton.

2 April: 130 people were arrested after rioting in St Pauls, Bristol.

3 April: The Assisted Places Scheme introduces free or subsidised places for children at fee-paying independent schools, based on examination performances. It also gives parents more powers on governing bodies and admisssions, and removes the obligation for local education authorities to provide school meals and milk. Thatcher, Thatcher, milk snatcher.

4 April: Alton Towers Resort was opened as a theme park.

10 April: The UK and Spain come to an agreement, and the latter reopens its border with Gibraltar.