Hubbry Logo
All Mod ConsAll Mod ConsMain
Open search
All Mod Cons
Community hub
All Mod Cons
logo
7 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
All Mod Cons
All Mod Cons
All Mod Cons
View on Wikipedia
from Wikipedia

All Mod Cons
Studio album by
the Jam
Released3 November 1978
Recorded4 July – 17 August 1978
StudioRAK and Eden, London
Genre
Length37:28
LabelPolydor
Producer
The Jam chronology
This Is the Modern World
(1977) 		All Mod Cons
(1978) 		Setting Sons
(1979)
Singles from All Mod Cons
  1. "David Watts"/"'A' Bomb in Wardour Street"
    Released: 11 August 1978
  2. "Down in the Tube Station at Midnight"
    Released: 13 October 1978

All Mod Cons is the third studio album by the English band the Jam, released on 3 November 1978 by Polydor Records. The title, 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. The cover is a visual joke showing the band in a bare room. The album reached No. 6 in the UK Albums Chart.[6]

The album was reissued in the United States in 1979, with the song "The Butterfly Collector" replacing "Billy Hunt".

Background and music

[edit]

"I'd found my feet. After This Is the Modern World, I thought, 'am I going to let this slide or fight against it?' My back was against the wall. It was a matter of self-pride".

Paul Weller, reflecting on his mindset between This Is the Modern World and All Mod Cons in a 1998 interview with Uncut magazine.[7]

Following the release of their second album, This Is the Modern World, the Jam undertook a 1978 tour of the US supporting American rock band Blue Öyster Cult. The Jam were not well received on the tour and This Is the Modern World failed to reach the Billboard 200 chart. Under pressure from their record company, Polydor, to deliver a hit record, songwriter Paul Weller was suffering from writer's block when the band returned to the UK.[8] Weller admitted to a lack of interest during the writing/recording process, and had to completely re-record a new set of songs for the album after producer Chris Parry rejected the first batch as being sub-standard.[9] All Mod Cons was more commercially successful than This Is the Modern World.

British Invasion pop influences run through the album, most obviously in the cover of The Kinks' "David Watts". The single "Down in the Tube Station at Midnight", which Weller had originally discarded because he was unhappy with the song's arrangement,[10] was rescued from the studio bin by producer Vic Coppersmith and became one of the band's most successful chart hits up to that point, peaking at number 15 on the UK Singles Chart.[8] The song 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 "To Be Someone (Didn't We Have a Nice Time)" criticised fickle people who attach themselves to people who enjoy success and leave them once that is over.

"Class issues were very important to me at that time ..." said Weller. "Woking has a bit of a stockbroker belt on its outskirts. So I had those images – people catching the train to Waterloo to go to the city. 'Mr Clean' was my view of that."[11]

All Mod Cons was reissued on CD in 2006, featuring a second disc of b-sides, outtakes and unreleased demos and a DVD containing a 40-minute documentary directed by Don Letts.[12]

Reception

[edit]
Professional ratings
Review scores
SourceRating
AllMusicStarStarStarStarStar[13]
The Encyclopedia of Popular MusicStarStarStarStarStar[14]
MojoStarStarStarStarStar[15]
QStarStarStarStar[16]
The Rolling Stone Album GuideStarStarStarStarHalf star[17]
SoundsStarStarStarStarStar[18]
SpinStarStarStarStarHalf star[19]
Spin Alternative Record Guide8/10[20]
The Village VoiceB[21]

In his review for NME, Charles Shaar Murray said that All Mod Cons was "not only several light years ahead of anything they've done before but also the album that's going to catapult the Jam right into the front rank of international rock and roll; one of the handful of truly essential rock albums of the last few years."[22] Sounds critic Garry Bushell hailed it as the Jam's "statement of artistic triumph, musical maturation and compositional strength".[18] Dave Schulps of Trouser Press stated that "All Mod Cons firmly establishes Paul Weller (and the Jam) as a major talent (and band) for the '80s."[23] The Globe and Mail deemed the album "sober, topical rock and roll with a touch of pop tunefulness that sneaks out from the metallic sounds and martial rhythms to add a note of levity".[24]

NME ranked All Mod Cons as the second best album of 1978 in its end of year review.[25]

In 2000, Q placed All Mod Cons at number 50 on its list of the "100 Greatest British Albums Ever".[26] In 2013, NME ranked All Mod Cons at number 219 on its list of the 500 greatest albums of all time.[27] The album is listed in the reference book 1001 Albums You Must Hear Before You Die.[9]

Track listing

[edit]

All songs written by Paul Weller except "David Watts" written by Ray Davies.

Side one
  1. "All Mod Cons" – 1:20
  2. "To Be Someone (Didn't We Have a Nice Time)" – 2:32
  3. "Mr. Clean" – 3:29
  4. "David Watts" – 2:56
  5. "English Rose"* – 2:51
  6. "In the Crowd" – 5:40
Side two
  1. "Billy Hunt" – 3:01 [UK and 1st US pressings] "The Butterfly Collector" – 3:11 [US reissues]
  2. "It's Too Bad" – 2:39
  3. "Fly" – 3:22
  4. "The Place I Love" – 2:54
  5. "'A' Bomb in Wardour Street" – 2:37
  6. "Down in the Tube Station at Midnight" – 4:43

*Neither the title nor lyrics of "English Rose" were printed on the original vinyl release of All Mod Cons due to Weller's feeling that the song's lyrics did not mean much without the music behind them.

Personnel

[edit]
The Jam
Technical
  • Vic Coppersmith-Heaven – production, soundboard engineering
  • Chris Parry – associate production
  • Roger Béchirian – soundboard engineering
  • Gregg Jackman – soundboard engineering
  • Peter Schierwade – assistant engineering
  • Phil Thornalley – assistant engineering
  • Bill Smith – design
  • The Jam – design
  • Peter "Kodick" Gravelle – photography

Charts

[edit]
Chart (1978–79) Peak
position
UK Albums (OCC)[28] 6
US Bubbling Under the Top LPs (Billboard)[29] 4

Certifications

[edit]
Region Certification Certified units/sales
United Kingdom (BPI)[30] Gold 100,000^

^ Shipments figures based on certification alone.

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

All Mod Cons

View on Grokipedia
from Grokipedia
is the third studio album by the English rock band , released on 3 November 1978 by . The album represented a breakthrough for , evolving from their initial punk-oriented sound toward a more mature blend of , , and , influenced by 1960s acts like while retaining raw energy. Produced by Vic Coppersmith-Heaven after internal challenges including the band's manager's dismissal, it addressed themes of working-class alienation and modern disillusionment, subverting the title phrase—"all modern conveniences"—to highlight societal frustrations rather than amenities. All Mod Cons peaked at number six on the , spending 17 weeks in the Top 100 and achieving gold for sales exceeding 100,000 copies. Critically, it earned New Musical Express's Album of the Year award and solidified the Jam's reputation, paving the way for their subsequent commercial dominance with hits from lead single "Down in the Tube Station at Midnight," which reached number 15. Standout tracks such as "'A' Bomb in Wardour Street," "," and "English Rose" showcased Paul Weller's sharpened songwriting, contributing to the album's enduring influence on British rock and the movement.

Development and Recording

Background and Songwriting

Following the release of their second album, , on November 18, 1977, which peaked at number 22 on the and failed to achieve significant sales, encountered substantial band and label tensions. A promotional tour of the in October 1977, including shows at venues like in New York, met with indifferent audiences unaccustomed to the band's mod-punk hybrid sound, contributing to frontman Paul Weller's growing disillusionment. , dissatisfied with the sophomore effort's commercial underperformance and viewing it as derivative of contemporaries like , rejected early demos for the next album and demanded material with broader appeal to ensure viability. Weller, responsible for nearly all the band's songwriting, grappled with upon returning to the in late 1977, admitting to a lack of creative interest amid the mounting pressures. By early 1978, he broke through this phase, composing the majority of All Mod Cons' tracks in a concentrated burst that reflected his frustrations with suburban conformity, familial constraints, and the encroaching decay of British urban life. These songs drew from Weller's working-class upbringing in , , channeling personal alienation into vivid depictions of everyday monotony and societal stagnation, as evident in tracks like "Fly" and "It's Too Bad". This songwriting period signified Weller's evolution from the visceral, three-chord punk urgency of prior releases toward more intricate, story-like structures, influenced by his discovery of ' catalog—particularly ' observational narratives—during the US tour. Songs such as "'A' Bomb in Wardour Street" emerged from contemporaneous observations of punk-era violence, capturing the chaos of fights at gigs in a time when "every gig there was a fight," with references to notorious spots like club on Wardour Street. This maturation allowed Weller, at age 19, to infuse punk energy with literate, character-driven commentary, setting All Mod Cons apart from the genre's prevailing .

Studio Sessions and Production Challenges

The recording sessions for All Mod Cons took place between July 3 and August 17, 1978, primarily at Eden Studios in , with additional work at . Engineer Vic Coppersmith-Heaven handled the technical aspects, marking a reunion with the band after their previous album. Initial production was overseen by Chris Parry, but he was dismissed midway through the sessions following tensions, including reported comments undermining bassist Bruce Foxton's contributions. The Jam then self-produced the remainder alongside Coppersmith-Heaven, forgoing a dedicated external to maintain creative control, though this decision heightened internal pressures amid the band's ongoing crisis. This approach preserved the album's urgent, unpolished aesthetic but reflected broader challenges stemming from Paul Weller's recent and Polydor's rejection of early demos. Label expectations accelerated the process, compelling the band to finalize the album efficiently despite the upheaval, resulting in a raw sound achieved through straightforward techniques like prominent live drum captures emphasizing natural tones over extensive . One notable hurdle involved the track "Down in the Tube Station at Midnight," which Weller initially dismissed and nearly discarded, only proceeding after Coppersmith-Heaven's intervention to advocate for its inclusion. These dynamics underscored the album's shift toward authenticity, contrasting with the more refined approaches of some contemporaneous punk acts.

Musical Style and Themes

Influences and Genre Evolution

All Mod Cons represented The Jam's pivot from the abrasive, minimalist punk of their 1977 debut In the City toward a mod revival sound enriched by 1960s British Invasion precedents, particularly The Kinks and The Who. The album's inclusion of a cover of The Kinks' 1967 track "David Watts" exemplifies this, adapting the original's crisp power chords and rhythmic propulsion into a sharper, mod-inflected energy that prioritized melodic precision over punk's raw distortion. This borrowing underscored the band's deliberate homage to mod-era acts, integrating harmonic nods like jangly guitar riffs and tight basslines drawn from The Who's early power pop style, as evidenced in tracks featuring driving 4/4 beats and chord progressions echoing 1960s British rock templates. The genre evolution manifested in heightened arrangement complexity, with All Mod Cons employing tempo shifts—from the frenetic pace of "'A' Bomb in Wardour Street" (clocking around 170 BPM) to the brooding build in "Down in the Tube Station at Midnight"—that layered aggressive electric guitars with percussive dynamics absent in their prior raw-energy outputs. This sophistication, including subtle harmonic variations such as minor-key modulations and bass runs, marked a departure from punk's three-chord simplicity, verifiable through audio dissections revealing expanded chord voicings beyond basic I-IV-V structures. Critics noting this shift have highlighted how it catalyzed the mod revival's resurgence, positioning The Jam as architects of a hybrid genre that fused punk's urgency with influences from and , thereby evolving beyond accusations of punk dilution into a mature synthesis of revivalist . Empirical markers of this maturity include the album's average track length extension to over three minutes (versus under two-and-a-half on ), allowing for instrumental bridges and rhythmic interplay that enriched the sonic palette without sacrificing intensity.

Lyrical Content and Social Commentary

The lyrics of All Mod Cons, penned primarily by , center on themes of personal alienation amid the perceived benefits of modern suburban life, portraying conveniences as ironic palliatives for deeper existential and economic voids in Britain. The album's title derives from the British real estate phrase denoting "all modern conveniences," such as and appliances, which Weller subverts to highlight how these material trappings fail to alleviate the ennui and loss of agency experienced by ordinary workers during a period of , with inflation peaking at 24.2% in 1975 and unemployment rising above 1 million by 1977. This critique eschews romanticized class solidarity, instead emphasizing individual frustration and the causal links between economic malaise—exemplified by the 1973-1975 recession and subsequent strikes—and personal disconnection, as seen in tracks like "Fly," where escape from drudgery is imagined through fleeting fantasy rather than . In "Down in the Tube Station at Midnight," Weller narrates a late-night of an everyday commuter by opportunistic thugs in the London Underground, drawing from contemporaneous fears of rising , which saw reported violent offenses increase by over 20% in urban areas during the late amid social breakdown. The song's vivid, first-person account underscores causal realism in urban vulnerability—attributing the attack to the perpetrators' desperation rather than systemic abstractions—while rejecting passive victimhood; the protagonist's futile resistance and reflections on the attackers' deprived backgrounds highlight personal peril without prescribing utopian remedies, contrasting the escapist often lionized in punk narratives. Similarly, "A-Bomb in Wardour Street" evokes the terror of gig violence and nuclear anxiety, rooted in real incidents like the 1977 Bill Grundy scandal-fueled clashes, portraying working-class outlets as breeding grounds for unchecked aggression born of stagnation, not heroic rebellion. Weller's approach maintains a focus on observable human behaviors over ideological panaceas, as in "All Mod Cons," which lambasts insincere social climbers exploiting success, reflecting the interpersonal betrayals amplified by economic pressures without invoking class warfare tropes prevalent in contemporaneous media depictions of punk discontent. This grounded perspective, informed by Weller's own upbringing, privileges empirical depictions of agency erosion—such as dead-end jobs and familial tensions in "'Tis Too Bad"—over the anarchic glorification seen in outlets like the New Musical Express, which often framed punk as liberatory chaos amid 1978's pre-Winter of Discontent unrest. By foregrounding individual accountability amid societal decay, the lyrics offer a to biased academic and journalistic tendencies to overemphasize structural in working-class portrayals.

Release and Commercial Performance

Marketing and Chart Performance

All Mod Cons was released in the on 3 November 1978 through . The album's rollout featured preceding singles, including the double A-side "David Watts"/"'A' Bomb in Wardour Street" issued on 26 August 1978, which peaked at number 25 on the UK Singles Chart, and "Down in the Tube Station at Midnight" released on 21 October 1978, reaching number 15. Promotion emphasized the band's live performances, coinciding with their 1978 Apocalypse tour advertised via posters highlighting the album and concerts, leveraging their mod aesthetic to engage audiences amid punk's evolving scene. The debuted on the on 11 November 1978 at number 6, maintaining a position for 17 weeks. This marked a commercial breakthrough for , building on prior releases and distinguishing their structured approach from punk's rawer elements. In the United States, where the appeared in 1979, it saw limited traction and failed to register prominently on the , underscoring divergent market preferences favoring American punk variants over the band's British mod influences.

Sales and Certifications

All Mod Cons attained gold certification from the British Phonographic Industry (BPI) in November 1979, recognizing sales of at least 100,000 units in the United Kingdom. This milestone was reached within approximately one year of the album's release on 3 November 1978, underscoring its robust initial market reception amid the band's rising profile. The BPI's gold threshold at the time equated to 100,000 copies shipped, a standard that highlighted the album's commercial breakthrough compared to the band's prior releases. No certifications were issued for All Mod Cons in international markets such as the or elsewhere, reflecting its primary appeal within the during the late punk and scenes. Sustained catalog sales have occurred through subsequent reissues, though cumulative figures beyond the initial BPI award remain undocumented in public records. In contrast to contemporaries like the ' Never Mind the Bollocks, Here's the Sex Pistols, which also secured gold status but lacked equivalent long-term reissue-driven endurance relative to The Jam's discography, All Mod Cons has maintained steady availability via compilations without additional formal accolades.

Critical Reception

Contemporary Reviews

Upon its release on 3 November 1978, All Mod Cons received widespread acclaim in the British music press for marking a significant advancement in The Jam's songwriting and musical maturity compared to their prior efforts. , reviewing for New Musical Express on 28 October 1978, described the album as "several light years ahead of anything they've ever done before," praising its evolution toward a more sophisticated aggression that solidified the band's status among Britain's most vital acts of the era. Similarly, Melody Maker's Francis Lass highlighted the record's refined production and lyrical depth in an October 1978 review, positioning it as a leap in craft that distinguished The Jam from rote punk formulas. NME later ranked All Mod Cons as the second-best album of 1978 in its year-end poll, underscoring the consensus among establishment critics that the work achieved greater accessibility without sacrificing intensity. However, the album drew dismissals from segments of the punk purist faction, who perceived its incorporation of aesthetics—drawing explicitly from 1960s influences like The Who and —as a retrograde concession amid 1978's and social unrest. These critics argued that the polished mod elements represented commercial pandering, diluting punk's raw, urgency in favor of nostalgic revivalism that alienated the movement's more doctrinaire adherents. This tension highlighted a broader : while mainstream reviewers celebrated the album's balance of melodic innovation and thematic bite, hardline voices in the punk scene viewed it as compromising the genre's foundational ethos of unvarnished rebellion against consumerist .

Retrospective Evaluations and Criticisms

In the , All Mod Cons has solidified its status as The Jam's creative pinnacle, with critics crediting it for evolving beyond punk's raw energy into sophisticated songcraft that outpaced peers mired in stylistic repetition. rates it 5 out of 5 stars, lauding its taut arrangements and Weller's incisive observations on suburban ennui. retrospectives echo this, positioning the album as the launch of The Jam's "amazing run" of mature works, distinguishing it through melodic precision and thematic depth. A 2023 analysis marks its 45th anniversary by highlighting its "mature, confident" execution, contrasting it favorably against the band's earlier, more derivative efforts. aggregates user scores at 3.7 out of 5 from over 5,000 ratings, reflecting broad acclaim for its range from power-pop hooks to introspective ballads. Critics have scrutinized the album's parochial focus on British working-class minutiae, arguing it constrained broader global resonance despite domestic success; The Jam's U.S. chart penetration remained minimal, with All Mod Cons failing to crack the , underscoring its insular appeal rooted in mod iconography over universal themes. Lyrically, while occasionally framed in left-leaning retrospectives as romantic critiques of Thatcher-era precursors, tracks like "Down in the Tube Station at Midnight" and "To Be Someone" prioritize personal agency and disillusionment with complacency amid 1970s welfare-state stagnation, eschewing collective victimhood for individual reckoning— a stance at odds with Paul Weller's subsequent pivot toward overt anti-capitalist advocacy and soul-infused . This shift, evident by 1983's , has prompted reevaluations viewing All Mod Cons' mod ethos as grounded realism rather than ideological blueprint. Dissenting voices, including some punk-adjacent historians, dismiss the underpinning the album as escapist nostalgia, reviving sharp-dressed rebellion while sidestepping late-1970s structural woes like industrial decline and fiscal malaise in favor of stylistic homage to and The Who. Such critiques portray its cultural insularity as overhyped, with forums like Rocktown Hall questioning its favoritism over later Jam releases like , attributing acclaim to selective memory rather than unqualified superiority. These perspectives underscore debates on whether All Mod Cons' innovations truly transcended revivalist limits or merely polished punk's edges for UK parochial endurance.

Track Listing and Personnel

Side-by-Side Track Breakdown

The original vinyl release of All Mod Cons (Polydor 2383 356, 1978) featured twelve tracks divided across two sides, with runtimes totaling approximately 37 minutes. All original compositions were written by , except where noted as covers.
SideTrackTitleWriter(s)Duration
A1All Mod Cons1:15
A2To Be Someone (Didn't We Have a Nice Time)2:27
A3Mr. Clean3:26
A4David Watts2:56
A5English Rose2:47
A6In the Crowd2:50
B7'A' Bomb in Wardour Street2:35
B8Down in the Tube Station at Midnight4:44
B9So Sad About Us2:37
B10The Night3:00
B11The Dreams We Had1:14
B12It's Too Bad2:36
"David Watts" is a cover of the 1967 Kinks single, originally written by . "'A' Bomb in Wardour " and "Down in the Tube Station at Midnight" were released as a double A-side single in October 1978 prior to the album. "So Sad About Us" is a cover of the 1966 Who B-side, originally written by . No alternate mixes or non-album tracks appear on the original pressing.

Key Contributors

All Mod Cons was primarily created by the trio comprising : on lead vocals, guitar, piano, and harmonica, who also composed all original tracks; on bass guitar and backing vocals; and on drums and percussion. Weller's songwriting and multi-instrumental contributions shaped the album's core sound, with the band handling arrangements collectively. Vic Coppersmith-Heaven served as producer and engineer, overseeing the recording sessions at Polydor Studios in 1978 without external band producers. Chris Parry contributed associate production on four tracks: "To Be Someone (Didn't We Have a Nice Time)," "David Watts," "'A' Bomb in Wardour Street," and "Down in the Tube Station at Midnight." No additional musicians or significant guest inputs are credited for the album's instrumentation.

Legacy and Cultural Impact

Influence on Mod Revival and Subsequent Artists

The Jam's All Mod Cons, released on November 3, 1978, played a pivotal role in catalyzing the late-1970s by explicitly drawing on 1960s influences like and The Who, particularly through its cover of "David Watts" and tracks evoking working-class suburban ennui. This shift from punk's raw aggression toward mod's sharp tailoring and R&B roots inspired bands such as and , who formed in 1978 and cited The Jam's homage to mod icons as a blueprint for their own sound and aesthetic. The album's commercial breakthrough—peaking at No. 6 on the charts—signaled mod's viability post-punk, encouraging a wave of groups like The Merton Parkas and to adopt similar scooter-riding, parka-clad visuals and guitar-driven urgency, peaking around 1979-1980. While the revival successfully reasserted working-class aesthetics amid , critics later argued it fostered nostalgic escapism irrelevant to the structural shifts of the emerging Thatcher , prioritizing 1960s revivalism over direct confrontation with . Nonetheless, All Mod Cons' emphasis on acute social observation—evident in songs like "'A' Bomb in Wardour Street"—influenced subsequent artists by modeling melody-infused critique, with Paul Weller's lyrics on alienation resonating beyond mod circles. The album's legacy extended to 1990s , where bands like Oasis and Blur explicitly cited as foundational; of Oasis praised Weller's narrative precision, while Blur's and covered "All Mod Cons" itself, tracing a lineage from to indie rock's guitar populism. This impact is empirically tracked through remakes and homages, such as Coxon's solo rendition underscoring 's debt to 's blend of aggression and storytelling, which echoed in Oasis's anthemic swagger and Blur's Kinks-inflected wit. Such influences helped sustain mod's working-class ethos into broader indie currents, though some retrospectives note 's amplification diluted the original revival's subcultural edge into mainstream spectacle.

Reissues, Remasters, and Enduring Relevance

The album underwent a remastering process in 1997, resulting in a that enhanced audio fidelity for renewed distribution across and the . This version, produced under Polydor's oversight, preserved the original track sequencing while addressing production limitations from the 1978 analog masters. In 2006, a deluxe edition expanded the release to two s and a DVD, incorporating B-sides such as "The Butterfly Collector," studio demos, and a on the album's creation featuring band interviews. Accompanied by from music Lois Wilson and rare photographs, this package targeted collectors and highlighted outtakes to contextualize the album's development without altering core tracks. A 2014 vinyl reissue in the Back to Black series utilized 180-gram heavyweight pressing and remastered audio, catering to analog enthusiasts amid resurgent interest in physical formats. These periodic updates reflect ongoing commercial viability, with the album maintaining availability on digital platforms like , where remastered editions sustain listener access. The persistence of All Mod Cons stems from its structural songcraft, which has outlasted punk's initial wave, as evidenced by repeated reissues signaling demand decoupled from ephemeral trends. Paul Weller's subsequent solo trajectory, spanning decades of releases, has indirectly bolstered the Jam's catalog by drawing audiences to foundational works like this album, without reliance on reinterpretations that dilute originals. broadcasters continue to feature tracks such as "'A' Bomb in Wardour Street" in rotations, underscoring cultural embedding over four decades. This longevity aligns with the album's merits in lyrical precision and arrangement, countering assumptions of punk-era disposability.

References

  1. https://www.udiscovermusic.com/stories/rediscover-all-mod-cons/
  2. https://www.allmusic.com/album/all-mod-cons-mw0000194278
  3. https://www.officialcharts.com/albums/jam-all-mod-cons/
  4. https://www.clashmusic.com/features/spotlight-the-jam-all-mod-cons/
  5. https://www.thestudentplaylist.com/the-jam-all-mod-cons/
  6. https://musiccitymike.net/2018/07/22/classic-concert-the-jam-cbgb-new-york-ny-october-15-1977-early-show/
  7. https://www.whiterabbitrecords.co.uk/blog/read_204702/2023-albums-thing-187-the-jam-this-is-the-modern-world.html
  8. https://altrockchick.com/2019/06/06/the-jam-all-mod-cons-classic-music-review/
  9. https://www.treblezine.com/the-jam-all-mod-cons/
  10. https://unmask.us/songwriters-f-j/the-jam/
  11. https://www.discogs.com/release/1598339-The-Jam-All-Mod-Cons
  12. https://www.musicmusingsandsuch.com/musicmusingsandsuch/2023/10/4/feature-to-be-someone-didnt-we-have-a-nice-time-the-jams-all-mod-cons-at-forty-five
  13. https://www.whiterabbitrecords.co.uk/blog/read_204711/2023-albums-thing-188-the-jam-all-mod-cons.html
  14. https://recordcollectormag.com/articles/yesterdays-kids-todays-legends
  15. https://www.radiox.co.uk/artists/the-jam/how-the-jam-almost-didnt-record-one-of-their-biggest-hits/
  16. https://www.covermesongs.com/2024/06/the-best-kinks-covers-ever.html/6
  17. https://faroutmagazine.co.uk/10-greatest-covers-of-the-kinks/
  18. https://www.modculture.co.uk/the-joy-of-the-jams-all-mod-cons/
  19. https://revsoc21.uk/2017/03/05/its-up-to-us-to-change-this-town-called-malice-the-politics-of-paul-weller-the-jam-and-the-style-council/
  20. https://www.goldminemag.com/features/paul-weller-15-greatest-songs-from-the-jam-to-the-style-council/
  21. https://www.wow-vinyl.com/thesingle.asp?d=7
  22. https://www.theguardian.com/commentisfree/2008/feb/23/1
  23. https://www.officialcharts.com/songs/jam-down-in-the-tube-station-at-midnight/
  24. https://www.ebay.com/itm/197730021218
  25. https://www.45cat.com/vinyl/album/pold5008
  26. http://whitgunn.freeservers.com/Davemusic/J/jam/all-mod-cons.html
  27. https://tsort.info/music/ay1978.htm
  28. https://bestsellingalbums.org/artist/13046
  29. https://www.the-saleroom.com/en-gb/auction-catalogues/omega-auctions/catalogue-id-srom10282/lot-be39bc8c-7b27-40d3-9db5-afcc00c20b64
  30. https://bid.omegaauctions.co.uk/auction/lot/lot-571---the-jam---paul-wellers-official-bpi-gold-disc-award-for-all-mod-cons/?lot=34032&sd=1
  31. https://thejam.org.uk/home/in-the-media/in-print/the-jam-nme-october-1978
  32. https://thejam.org.uk/home/in-the-media/in-print
  33. https://belfastchildis.com/2020/08/04/all-mod-cons-1978-the-jam/
  34. https://pitchfork.com/reviews/albums/11898-direction-reaction-creation-hit-parade/
  35. https://rateyourmusic.com/release/album/the-jam/all-mod-cons/
  36. https://www.facebook.com/groups/478613695592616/posts/9454890707964825/
  37. https://pitchfork.com/thepitch/614-millions-like-us-is-a-winning-history-of-the-mod-revival-sung-by-the-underdogs/
  38. https://www.rocktownhall.com/blogs/please-explain-what-do-you-people-hear-in-lemgall-mod-consl-emg-that-makes-it-your-most-beloved-jam-album/
  39. https://www.discogs.com/master/20164-The-Jam-All-Mod-Cons
  40. https://www.discogs.com/release/1984507-The-Jam-All-Mod-Cons
  41. https://www.discogs.com/release/12511603-The-Jam-All-Mod-Cons
  42. https://www.classicpopmag.com/features/popscene-the-mod-revival/
  43. https://www.scootering.com/scootering-classics-all-mod-cons-the-british-mod-revival-part-1/
  44. https://www.allmusic.com/style/mod-revival-ma0000011829
  45. https://subcultz.com/mod-revival-1978/
  46. https://www.theguardian.com/music/2006/feb/03/popandrock.paulweller
  47. https://kul-britania.com/mods-music-modernism-from-the-jam-to-britpop/
  48. https://1001albumsgenerator.com/albums/5b533EfxPpiYtk0MmilEJO/all-mod-cons
  49. https://secondhandsongs.com/work/165208
  50. https://www.markprindle.com/jam.htm
  51. https://www.discogs.com/release/368404-The-Jam-All-Mod-Cons
  52. https://open.spotify.com/album/1zB3OwsKut94AnGBazJUlZ
  53. https://www.bbc.co.uk/music/reviews/zjn8/
  54. https://www.allmusic.com/album/release/all-mod-cons-deluxe-edition--mr0001334368
  55. https://www.amazon.com/All-Mod-Cons-Jam/dp/B000F5WNNW
  56. https://www.discogs.com/release/5610590-The-Jam-All-Mod-Cons
  57. https://shop.udiscovermusic.com/products/the-jam-all-mod-cons-lp
  58. https://open.spotify.com/album/5b533EfxPpiYtk0MmilEJO
  59. http://www.warr.org/weller.html
  60. https://recordcollectormag.com/articles/the-roots-of-weller
Add your contribution
Related Hubs
User Avatar
No comments yet.