The Jam
The Gift

THE REVIEW

I'm reviewing the last album by The Jam, released in March 1982.

This is an underrated album in the production of the Woking trio, probably because it represents a significant change compared to previous productions, that is, the New Wave/Power Pop/Post Punk mix that the group had accustomed us to up until that point.

The change was also caused by the realization that the group's Mod formula had reached its end with the excellent previous albums. As such, it is perhaps the most controversial album among fans. It was clear by now that for Paul Weller, the musical formula of the trio had become too narrow, strong the need to look beyond and set new musical goals.

From a musical point of view, Paul clearly shows his love for a certain 60s Soul (Stax/Motown), the group shifts towards R&B, Funk, and why not, Calypso, with the addition of brass and keyboards, sounds already partially experimented in the previous year's single "Absolute Beginners" (the B-side "Tales From The Riverbank" is splendid). Echoes of this new direction (Style Council) will also be found in the two subsequent singles "The Bitterest Pill" and "Beat Surrender"; they could comfortably have been released under the new name.

The lyrics instead reflect the commitment and careful observation of the English "Working Class" and its heroes (probably his father). However, he does not limit himself to commentary; even in this aspect, Weller is increasingly sure of his political battles, all themes that he will further develop in the first phase of the Style Council.

The result is an album full of stylistic changes, changes that last just long enough not to bore the listener. Starting with the splendid "Town Called Malice," a leading single alongside the B-side "Precious."

"Town Called Malice" is a clear musical homage to the Motown style (You Can't Hurry Love), the irresistible track is driven by a splendid bass line, albeit not original, it wasn't the first time (Start/Taxman). "Happy Together," "Running On The Spot," "Ghosts," and "Just Who's The 5 O'Clock Hero?" remain faithful to the classic sound of The Jam, all enjoyable tracks, often absent in various collections proposed about the group.

Interesting and partially successful Funk experiments (even if derivative); "Precious" with splendid bass work by Bruce Foxton, however, recalls an English track from the period "Papa's Got A Brand New Pigbag," "Trans-Global Express" is not entirely convincing. The Title Track seems already heard and indeed can be considered a tribute to a group particularly loved by Paul, the Small Faces of "Don't Burst My Bubble."

Since the album presents different styles, Weller also offers the "Caribbean-Calypso" of "The Planners Dream Goes Wrong," for many even the worst track in the trio's entire discography, I disagree; the second album "This Is The Modern World" contains worse. "Carnation" doesn't completely convince, beautiful melody good lyrics, the central piano solo is not quite right. A filler is the instrumental "Circus."

A final note for the mentioned "Ghosts" endowed with beautiful lyrics, aiming for happiness, beautifully interpreted by Weller on a bed of brass.

"The Gift" is therefore a highly recommended album and full of genuinely successful tracks. An expression of the maturity now reached by Paul Weller.