| The Jam | |
|---|---|
1982'de Newcastle upon Tyne'daki Trans-global Unity konserinde The Jam | |
| Genel bilgiler | |
| Köken | Woking, Surrey, İngiltere |
| Tarzlar | |
| Etkin yıllar |
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| Müzik şirketi | Polydor |
| İlişkili hareketler | |
| Resmî site | thejamofficial.com |
| Eski üyeler |
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The Jam, 1972 yılında Woking, Surrey'de kurulan İngiliz punk rock grubu. Paul Weller, Bruce Foxton ve Rick Buckler grubun orijinal üyeleridir. Grup, 1977'deki çıkışlarından Aralık 1982'deki dağılışlarına kadar Birleşik Krallık'ta, dördü liste başı olmak üzere art arda 18 adet "Top 40" single'ına imza atmıştır. 2007 yılı verileri itibarıyla "That's Entertainment" ve "Just Who Is the 5 O'Clock Hero?" adlı çalışmaları, Birleşik Krallık'ta tüm zamanların en çok satan şarkılar olma özelliğini sürdürmektedir. Kariyerleri boyunca bir canlı performans albümü ve altı stüdyo albümü yayımlayan grubun son stüdyo çalışması olan The Gift, UK Albums Chart listesinde bir numaraya kadar yükselmiştir. Grubun 1982'de dağılmasının ardından ilk 15 single'ı yeniden piyasaya sürülmüş ve tamamı listelerde ilk 100 içerisinde yer almıştır.
In this 25 minute documentary you will see the pure emotion, pride and belief as everyone talks about The Jam.
If all this has long been ignored, at least part of the explanation lies in the Jam's anomalous place within punk rock, and the fact that music writers have usually ranked them below the short-lived Sex Pistols and the absurdly over-romanticised Clash (who, during the time they were together, never had a top 10 UK hit).
Unlike some punk bands whose short-lived appeal lay more in their outrageous dress and behaviour, The Jam produced songs with lyrics that actually meant something, and were tuneful too.
Once upon a time, there was an iconic English punk and mod revival band called The Jam...
The Jam were British New Wave at its most quintessential and successful.
New wave, in contrast, was the sophisticated alternative to punk, a professional version of punk with which adolescents of all social persuasions could identify. It took punk challenges to middle-class politics, gender and sexuality, and made them seem glamorous in a way that punks never intended them to be. Though bands like The Jam positively seethed with political intent, they were far less controversial than their punk predecessors, and thus easier on the consciences of professional music critics.
Throughout 1977 the new wave label continued to appear as a point of differentiation, distinguishing more melodic, pop-oriented groups like the Jam and the Stranglers from punk's increasingly politicized and violent realm.