For my 14th birthday The Jam released Going Underground, and much appreciated it was too. Prior to this No.1 single (straight in at the top spot; no mean feat at the time) I’d dug The Jam, but had yet to become a Weller obsessive. That was about to change. I was looking for inspiration, for excitement and a hero to worship, and like many other impressionable teenagers who sought a role model from their TVs, radios and record players, Paul Weller was that man. A good choice. A very good choice indeed. Paul Weller was a passionate, gobby, working class, mod-obsessed, Beatles-inspired super cool motherfucker.
Prior to Going Underground The Jam’s previous two LPs Setting Sons and All Mod Cons had gone by relatively unnoticed. I was still largely a singles kid, obsessed with Top of the Pops and the Top 40, and Strange Town and Eton Rifles in particular were singles that had already turned me on to The Jam. The financial restraints of a 13 year-old meant albums were few and far between (I probably had a dozen or so, and a bunch of oldies I’d nicked from my dad just to beef up my collection) and it was The Jam’s next album Sound Affects released in late 1980 which was the first of theirs to feel the sweat of my eager mitts. Going Underground was a perfect single; screeching guitars, thumping bass riffs, hammond keys and spat out harmonies, but it was Weller’s passion and cool that won me and thousands of others over.
“You choose your leaders and place your trust
As their lies wash you down and their promises rust
You’ll see kidney machines replaced by rockets and guns
And the public wants what the public gets
But I don’t get what this society wants
I’m going underground…”
See, kids, our heroes were people we could relate to, speaking for the common man and the kids on the street. They were largely untouched by the corporate system that pukes out most of your modern day ‘idols’. Yes, there were also your watered down pretty boys and girls with nothing to say – some people always care more for style than substance – but in 1980 pop stars weren’t part of the system, instead they sung out against it. Fuck, even UB40 had a political conscience, Signing Off being a brilliant dub-heavy statement of disillusionment. Going Underground cemented The Jam’s position as the biggest band in the UK in 1980. For an awkward sod like Paul Weller to reach such heights was a sign of the times. Shit was happening and Weller told it how it was. Soon, a certain John Lennon would become my obsession, but until they split in ‘82 Weller, Foxton & Buckler were my world.