Setting Sons

Product Information

Christgau, Robert (31 March 1980). "Christgau's Consumer Guide". The Village Voice . Retrieved 29 August 2016. Kudos to Weller for identifying the white supremacy that fueled the empire and calling bullshit on the whole god-is-on-your-side crap. In the third segment—featuring a more morose arrangement marked by minor chords and whispers—our anti-hero divulges the secret behind successful colonization and how the truth is shrouded in soothing lies: Pierre Perrone (27 April 2009). "John Weller: Father of Paul Weller who managed his son for 30 years". The Independent. London. Archived from the original on 30 April 2009. Kent, David (1993). Australian Chart Book 1970–1992 (illustrateded.). St Ives, N.S.W.: Australian Chart Book. p.153. ISBN 0-646-11917-6.

Larkin, Colin (2011). "Jam". The Encyclopedia of Popular Music (5th conciseed.). Omnibus Press. ISBN 978-0-85712-595-8.

Release

Bruce Foxton – Play This Game To Win / Welcome to the Hero – Harvest – UK – HAR 5239". 45cat . Retrieved 27 January 2014. Review: He's Still the Changingman - Brilliant Paul Weller Just Keeps on Getting Better". The Northampton Chronicle. 25 August 2018. The sole single from Setting Sons, " The Eton Rifles", became the group's first top 10 UK hit, peaking at No. 3. [3] Recording and content [ edit ] Wilkinson, Matt (26 May 2010). "Paul Weller reunites with The Jam's Bruce Foxton at London gig – video". NME . Retrieved 6 October 2023.

The music for “The Eton Rifles” is positively inspired—the dissonant chord that opens the piece, hinting at a descent into madness—the muscular, assertive rhythms—the Eton Rifles Choir (a group of boys who hung around the studio whom Weller invited into the studio) on the “Hoorays!”—and the rare appearance of an organ to add a touch of funereal blues to the mix. It’s a terribly exciting song with an unfortunately timeless but important message: you can’t win if you can’t break the cycle and you can’t break the cycle until you break the cycle that lives inside your head. Following a short stint recording demos with Jake Burns and Dolphin Taylor, previously of Irish punk outfit Stiff Little Fingers, Foxton released his debut single "Freak" on Arista Records. Entering the UK Singles Chart at No. 34 on 30 July 1983, it eventually peaked at No. 23 [36] and secured an appearance on Top of the Pops. Foxton's solo album Touch Sensitive followed in 1984, but subsequent singles "This Is The Way", "It Makes Me Wonder" and "SOS: My Imagination" failed to enter the Top 40. A final single "Play This Game To Win" was released on Harvest Records in November 1986. [37] I’ll spare you the suspense and tell you that I think very highly of Setting Sons . . . but I also wonder what could have been had Paul Weller been given the time and space to realize his original vision of a concept album that followed the lives of three boyhood friends who grow up and apart after a war deflects their life trajectories. As the 17 June 1978 edition of the Socialist Worker newspaper reported, the head boy patronisingly told the marchers: “I hope your jolly campaign gets you somewhere.”Snow, Mat (16 April 2014). "Paul Weller: 'Most people dislike me anyway … it can only get better' ". The Guardian. ISSN 0261-3077 . Retrieved 21 November 2017. The liner notes also imply that the album was a somewhat rushed effort, which may explain why the original underlying concept was not fully developed, as well as the inclusion of one cover song and two prior releases: "Smithers-Jones" had already been released; " Heat Wave" is a cover of the Martha and the Vandellas' Motown hit. Since "The Eton Rifles" was released in advance of the LP for promotional purposes, [3] this leaves only seven entirely new original songs on the album. [6] International releases [ edit ] The Jam: About The Young Idea CD/DVD documentary". Music-News.com. 24 October 2015 . Retrieved 19 July 2023.

Young, Natasha (8 September 2016). "Liverpool's exhibition on The Jam extended following demand". You Move. Move Publishing. Archived from the original on 21 October 2017 . Retrieved 21 October 2017. But “Private Hell”, “Wasteland”, “Saturday’s Kids”, “The Eton Rifles” and the orchestral version of Bruce Foxton’s “Smithers-Jones” are all close relations; bitter reflections on ordinary English men and women – working-class and suburban middle-class – alienated and manipulated by corporate and military power.This was quite a timely composition, hitting the airwaves six months after Maggie Thatcher took over and solidified the whole capitalism-as-religion bullshit that Ronnie Reagan would shortly bring to the States. I have to say that when I played the four concept album songs as a self-made suite, I felt a deep sense of loss . . . the music, the arrangements and the emotion-evoking lyrics convinced me that the concept album would have been an absolute masterpiece. The RS 500 Greatest Songs of All Time: The Jam--"That's Entertainment" ". Rolling Stone. Archived from the original on 19 June 2008 . Retrieved 4 October 2015. Note that Weller described what he saw as “jeering” and not “fighting” in the quote above; I could find no credible evidence that any fisticuffs took place that day. In verse two, Weller slips out of his working-class duds and takes on the role of wry observer: