'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.
Ray Davies recognises something in Paul Weller
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.
'There's a crack up in the ceiling
And the kitchen sink is leaking
Out of work and got no money
A Sunday joint of bread and honey'
('Dead End Street')
'A whole street's belief
In Sunday's roast beef
Gets dashed
Against the Co-op
To either cut down on beer
Or the kids' new gear
It's a big decision
In a town called Malice'
('Town Called Malice')
'David Watts' by The Kinks is kind of echoed in 'The Eton Rifles' - if you imagine perhaps of how David turned out. But right now we have a straight cover. As a cover, it does not particularly meet my 'worthy' covers criteria whereby the cover is somehow altered to make it the new band's own. The Jam's version is very similar to The Kinks's version, in much the same way that The Stranglers' version of 'All Day...' simply mirrors the original. Nevertheless, criteria notwithstanding, it's just a great song that was a perfect fit at that point in time for what The Jam were writing themselves. The fact that original and cover were separated by 11 years (1967 Kinks versus 1978 Jam) was of no consequence. The school kid of the 1960's and the 1970's could relate with ease, simply because at any age, every school age child has their own David Watts to content with. The scenario is timeless and unchanging.
'He is the head boy at the school
He is the captain of the team
He is so gay and fancy-free
And I wish I could have all he has got
Wish I could be like David Watts.'
So then, here you have them and here although eleven years separates the studio versions, these live versions are contemporaneous, both being captured in 1982.
