'How can I be a revivalist when I'm only fucking 17!' retorted a youthful Paul Weller when his band were accused of living off past musical glories. Little did he know it back in 1976, but he, along with The Jam would indeed catalyse a mod revival inspiring a new generation to generate a new music that unapologetically drew on the Mod/R&B scenes of a decade or more ago. Secret Affair, The Chords, The Lambrettas and more preened on Top of the Pops and played their gigs in front of a new audience of young mods resplendent in their parkas, Ben Sherman shirts and sta-prest trousers. I remember and this time (around 1980) I used to go ten-pin bowling with mates occasionally at the King Alfred Centre on the front in Hove. There were plenty of these young mods (who in fairness would have maybe been a couple of years older than me) and it was quite a thing for them to turn up in scabby footwear which they would hand in in exchange for a pair of proper bowling shoes. After their bowling they would do a runner leaving the bowling alley with a rank pair of trainers and a few more quid down on the day's takings.
For these new bands, Paul Weller was the King Pin mod. However, the huge success that The Jam enjoyed at this time in the UK was very much to the benefit of the 'old' mods as well. Certainly The Who did okay out of this renewed interest in mod culture... in a different musical environment I don't suppose 'Quadrophenia' would have been made, or if it had it would not be the revered cult film that it has become since 1979.
The Jam were great at cover versions of mod and soul classics, 'So Sad About Us' (The Who), 'Get Yourself Together' (The Small Faces), 'Big Bird' (Eddie Floyd), 'Move On Up' (Curtis Mayfield) and the subject of this post 'David Watts' (The Kinks). Some of these songs went on to be highlights of The Jam's live sets.
The writing influence passed dawn from Ray Davies of The Kinks is of particular note. Nobody, out of that huge pool of musical talent that existed in the '60s, could tell a tale as well as Ray. Weller too was a master when it came to nailing down the British Working Class experience in a handful of brilliantly crafted verses. I did mention in the recent chart post that The Jam's 'Town Called Malice' was 'Dead End Street' updated for the 1980's.
