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Setting Sons | 
enlarge | Artist: The Jam Label: Polydor Group Category: Music
List Price: £8.99 Buy New: £3.53 You Save: £5.46 (61%)
New (27) Used (3) from £3.53
Avg. Customer Rating: 13 reviews Sales Rank: 8627
Format: Original Recording Remastered Media: Audio CD Running Time: 33 Discs: 1 Shipping Weight (lbs): 0.2 Dimensions (in): 5.6 x 5 x 0.5
MPN: 537420 UPC: 731453742024 EAN: 0731453742024 ASIN: B000006TZA
Release Date: August 4, 1997 Availability: Usually dispatched within 1-2 business days Condition: IN STOCK. USUALLY DISPATCHED SAME OR NEXT WORKING DAY (MON - FRI). PLEASE ALLOW 3 - 6 DAYS FOR DELIVERY. BRAND NEW AND FULLY GUARANTEED BY A WELL ESTABLISHED TRUSTED LTD COMPANY. EMAIL DISPATCH CONFIRMATIONS SENT. TRACK PROGRESS 24/7
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| Tracks:
| • | Girl On The Phone | | • | Thick As Thieves | | • | Private Hell | | • | Little Boy Soldiers | | • | Wasteland | | • | Burning Sky | | • | Smithers-Jones | | • | Saturday's Kids | | • | The Eton Rifles | | • | Heatwave |
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| Editorial Reviews:
Amazon.co.uk Review The preceding album, All Mod Cons, had already proved there was more to The Jam than just being Mod revivalists, but it was Setting Sons that established Weller as a songwriting force to be reckoned with. The lead-off single "Eton Rifles" was Weller's most confident effort to date--a scathing look at class divisions in Thatcher's Britain. Originally planned as a concept album--The Jam's equivalent of The Kinks' Village Green Preservation Society--only fragments ("Little Boy Soldiers", "Wasteland") of this original vision survived, and the finished album centred on The Jam's customary guitar, bass and drums, although enhanced by fuller arrangements and production. The nostalgic "Saturday's Kids" is one of the highlights, and the album concludes with a breezy thrash through "Heat Wave". Fondly remembered as a singles band, Setting Sons is proof that The Jam also made some great albums. --Patrick Humphries
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| Customer Reviews: Read 8 more reviews...
Saturdays Kids December 17, 2008 Following sure-fire classic hit albums is never easy but with 'Setting Sons', Weller's irate follow-up to 'All Mod Cons', the now supremely confident, can-do-no-wrong Jam, had a damn good go. Although 'SS' is strong in it's own right - 'AMC' it isn't. It's got its quota of excellent Jam numbers; 'Little Boy Soldiers', 'Private Hell', 'Thick as Thieves' and the hauntingly pretty and nostalgic 'Wasteland' but it doesn't quite hold together like it's predecessor. The speedy songs are probably guilty; 'Burning Sky', 'Girl on the Phone', 'Eton Rifles' are not bad songs by any means, and as isolated Jam bursts they're quite effective, but every-one and his dog wanted them NOT to be as tasty as their counterparts on 'AMC', and they obligingly, stubbornly weren't. Weller was in an impossible position, that he wriggled his way to this much powerful absolution is testament to his talent and vision. 'SS' is not as seamless as 'AMC' - not as warm - but the cold wind chilling it's polemic was stark precursor to the next instalment in the Jam story - subsequently their finest hour - 'Sound Affects'.
the jam`s best album... July 6, 2008 ..this was the trio at their best, my fave album by them..contains excellent tracks (thick as thieves, smithers jones and the most underrated jam track ever wasteland) go and buy it at this price it`s a steal!! and then buy all their other albums.
The Jam in their best period, and it's one of the finest albums of the 70s March 22, 2008 Although the ever difficult, ever enigmatic Mr. Weller was quick to almost disown this album, as being too polished or too conceptual, or whatever it was he said, I'd be amazed if The Jam made a better album. It's so good it has to be considered as one of the best studio albums of the whole 1970s, which is a major claim, I know, but it really is a brilliant essembly of sharply written, socially aware songs, that captures the very best of the band's sound before they got too poppy and lost a lot of their oomph and spikeyness. The melodies are much better than they were for the previous album (the way over rated All Mod Cons), and Weller's writing is at its heady peak here, and the album resonates with the liberal sprinkling of socially aware lines in the very lyrical songs. It's not perfect, alas, as the throwaway last soul cover track harks back to the mod revival stuff and takes us away from the sharp and modern realist world they had taken great care in constructing. Apart from that, it IS nigh on perfect. Come on Paul, stop being so moody and artistic and admit you created a stonkingly good album here.
The Jam's best studio album.... September 22, 2007 2 out of 3 found this review helpful
Modern critical opinion suggests All Mod Cons is The Jam's best album. All Mod Cons is worthy of classic status but Setting Sons is the better album. The biggest compliment I can give is that The Eton Rifles (one of The Jam's very best songs) does not stand out - in fact Thick As Thieves pushes it incredibly close as best track on the album.
Another highlight is the wonderfully tuneful Wasteland but the whole album is fantastic. Tracks such as Girl On the Phone and Heatwave are sometimes criticised when this album is reviewed but I'm a big fan of these and cannot see why this album is not listed more frequently in best ever albums lists.
It is the best album from one of Britain's greatest ever bands.
The Jam cement their place as the most exciting band of the time. September 4, 2007 5 out of 6 found this review helpful
This album released in 1979 when Paul Weller was a mere 22 years old was originally intended to be a concept album with a common theme running through it, that of putting away the childish and nostalgic things in life in favour of growing up and embracing the corporate world. Naturally, those who are familiar with Weller's writing will know that he laments the tendency to do this and his English nostalgia is one of his most notorious features. Some of the tracks on this album, such as Burning Sky, Thick as Thieves, The Eton Rifles and Wasteland are written in this mould and each comments upon this theme in some way. Legend has it that Weller intended the whole album to reflect this theme but he ran out of time and material and consequently filled the rest of the album with other tracks, many of which were essentially made up on the spot by Weller building upon bass and drum jams by Bruce Foxton and Rick Buckler. The result of this are the inclusion of tracks such as Girl on the Phone, Private Hell, Saturday's Kids and Little Boy Soldiers which do not follow the same theme as the others. Knowing Weller's admiration for the Beatles and given that their Sgt Peppers album was originally intended as a concept album but ened up only half complete this may have been a deliberate emulation.
Nevertheless, the album is exquisite. The bass driven power of the harmonies show that Bruce Foxton was an essential contributor to the Jam sound and gone is the brash angst usually associated with bands of the late 70s, instead it is replaced by controlled guitar playing which loses none of the power but which shows Weller's emerging maturity as a player, loud and harsh is not necessarily better.
The real joy of the album however and what makes it stand head and shoulders above the other Jam albums are the lyrics. They are superb. Weller shows that even at such a young age he was a highly accomplished poet. The words of Thick as Thieves have been identified by the poet Simon Armitage as an exquisite example of British poetry, and quite righly so...
"We stole the love from young girls in ivory towers We stole autumn leaves and summer showers We stole the silent wind that says you are free We stole everything that we could see... We stole the burning sun in the open sky We stole the twinkling stars in the black night We stole the greenbelt fields that made us believe We stole everything that we could see But something came along and changed our minds I don't know what and I don't know why But we seemed to grow up in a flash of time And we watched out ideals helplessly unwind..."
delightful!!!
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