The Jam相似歌手

基本信息
姓名The Jam 别名暂无
国籍United Kingdom 英国 出生地英国
语言国语 性别
生日暂无 星座暂无
身高暂无 体重暂无
歌曲名称歌手试听分享下载
1、The Jam - Bricks
The Jam
2、The Jam - Spending All My Time
The Jam
3、Jordan Omley - The Day The Earth Stood Still (Pord by The Jam)
The Jam
4、The Jam - Lifegaurd (Prod by The Jam)
The Jam
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详细介绍

The Jam 是朋克狂潮年代里英国最重要的乐队之一,最终成为朋克复兴运动中的主导乐队。乐队由 Paul Weller(主唱兼吉他手)、Rick Buckler(鼓手)、Steve Brooks(吉他手)和 Bruce Foxton(贝司手)组成,开始在当地的年轻人聚会和夜总会演唱。 1976 年中期他们打入伦敦音乐圈,Brooks 离开乐队,使 The Jam 成为 3 人组合。尽管他们的音乐和形象受当时时代的启发,不久便发现他们卷入了早期朋克的舞台,同 The Sex Pistols、The Clash 及其他当时的主要乐队在同一俱乐部演出。他们漂亮的发行、时髦的装束和里肯贝克牌吉他起初引起了朋克音乐听众的敌意反应,但他们对音乐的超常感觉,朋克式赤裸裸的攻击意识渐渐培养了一代忠实的追随者。   
1977 年 2 月,他们加盟 PolyGram 唱片公司,发行了第 1 首单曲《In The City》,上升到排行榜第 40 名。此后又推出了不少经久不衰的热门歌曲,包括 3 首成为英国榜冠军的热门歌曲《Going Underground》、《A Town Called Malice》和《Beat Surrender》。 70 年代后期,他们推出了 3 张专辑《In The City》、《This is The Modern World》和《All Mod Cons》(被认为是他们最佳的作品)。到 1979 年,The Jam 与 The Police 乐队成为英国最流行的乐队。那年,人们看到了对“时髦文化”兴趣的复兴,为此,The Jam 得负大部分责任。具有讽刺意义的是,这又扩大了他们的流行程度。电影《Quadrophenia》使公众对他们产生了进一步的兴趣,并在短时间内刺激了不少时髦乐队出现,但 The Jam 是这股狂潮中唯一幸存下来的乐队。   
他们非同寻常的成功通过专辑《Setting sons》和《Sound Affects》延续着,这两张专辑体现了更深的内涵,并继续产生热门歌曲。但他们的流行只限于英国,直到 1982 年第 6 张专辑《The Gift》的发行和第一次美国巡回演出才使他们打入美国和澳大利亚市场。但这种情况并未持续多久,那年 10 月 The Jam 宣布解散,他们声称对唱片工业已完全失望了。12 月,他们在英国举行了告别巡回演出,发行了最后一张专辑《Dig The New Breed》。这是一张收集了他们从 1977 年在伦敦夜总会演出到 1982 年在格拉斯哥分手 5 年间现场录音的精选。   
每个乐队成员各自发展自己的个人音乐计划,但只有 Weller 的新乐队 Style Council 获得成功。到 1982 年 12 月 The Jam 解散时,他们不仅享有 5 年的巨大成功,成为朋克年代最受欢迎的乐队,而且他们还录制了像《Strange Town》、《Down Into The Tube Station At Midnight》和《Absolute Beginners》等当时最佳流行歌曲。

by Stephen Thomas Erlewine
The Jam were the most popular band to emerge from the initial wave of British punk rock in 1977; along with the Sex Pistols, the Clash, and the Buzzcocks, the Jam had the most impact on pop music. While they could barely get noticed in America, the trio became genuine superstars in Britain, with an impressive string of Top Ten singles in the late 70s and early 80s. The Jam could never have a hit in America because they were thoroughly and defiantly British. Under the direction of guitarist/vocalist/songwriter Paul Weller, the trio spearheaded a revival of mid-60s mod groups, in the style of the Who and the Small Faces. Like the mod bands, the group dressed stylishly, worshipped American R&B, and played it loud and rough. By the time of the groups third album, Wellers songwriting had grown substantially, as he was beginning to write social commentaries and pop songs in the vein of the Kinks. Both his political songs and his romantic songs were steeped in British culture, filled with references and slang in the lyrics, as well as musical allusions. Furthermore, as the Jam grew more popular and musically accessible, Weller became more insistent and stubborn about his beliefs, supporting leftist causes and adhering to the pop aesthetics of 60s British rock without ever succumbing to hippie values. Paradoxically, that meant even when their music became more pop than punk, they never abandoned the punk values — if anything, Weller stuck to the strident independent ethics of 1977 more than any other punk band just by simply refusing to change.

Weller formed the Jam with drummer Rick Buckler, bassist Bruce Foxton, and guitarist Steve Brookes while they were still in school in 1975; Brookes quickly left the band and they remained a trio for the rest of their career. For the next year, the band played gigs around London, building a local following. In February 1977, the group signed a record contract with Polydor Records; two months later, they released their debut single, In the City, which reached the U.K. Top 40. The following month, the group released their debut album, also called In the City. Recorded in just 11 days, the album featured a combinations of R&B covers and Weller originals, all of which sounded a bit like faster, more ragged versions of the Whos early records. Their second single, All Around the World, nearly broke into the British Top Ten and the group embarked on a successful British tour. During the summer of 1977, they recorded their second album, This Is the Modern World, which was released toward the end of the year. The Modern World made it into the Top 40 in November, just as the Jam were beginning their first American tour. Although it was brief, the tour was not successful, leaving bitter memories of the U.S. in the minds of the band.

This Is the Modern World peaked in the British charts at number 22, yet it received criticism for repeating the sound of the debut. The band began a headlining tour of the U.K., yet it was derailed shortly after it started when the group got into a nasty fight with a bunch of rugby players in a Leeds hotel. Weller broke several bones and was charged with assault, although the Leeds Crown Court would eventually acquit him. The Jam departed for another American tour in March of 1978 and it was yet another unsuccessful tour, as they opened for Blue Öyster Cult. It did nothing to win new American fans, yet their star continued to rise in Britain. Bands copying the groups mod look and sound popped up across Britain and the Jam itself performed at the Reading Festival in August. All Mod Cons, released late in 1978, marked a turning point in the Jams career, illustrating that Wellers songwriting was becoming more melodic, complex, and lyrically incisive, resembling Ray Davies more than Pete Townshend. Even as their sound became more pop-oriented, the group lost none of their tightly controlled energy. All Mod Cons was a major success, peaking at number six on the U.K. charts, even if it didnt make a dent in the U.S. Every one of the bands singles were now charting in the Top 20, with the driving Eton Rifles becoming their first Top Ten in November 1979, charting at number three.

Setting Sons, released at the end of 1979, climbed to number four in the U.K. and marked their first charting album in the U.S., hitting number 137 in spring of 1980. At that time, the Jam had become full-fledged rock stars in Britain, with their new Going Underground single entering the charts at number one. During the summer, the band recorded their fifth album, with the Taxman-inspired Start released as a teaser single in August; Start became their second straight number one. Its accompanying album, the ambitious Sound Affects, hit number two in the U.K. at the end of the year; it was also the bands high-water mark in the U.S., peaking at number 72. Thats Entertainment, one of the standout tracks from Sound Affects, charted at number 21 in the U.K. as an import single, confirming the bands enormous popularity.

Funeral Pyre, the bands summer 1981 single, showed signs that Weller was becoming fascinated with American soul and R&B, as did the punchy, horn-driven Absolute Beginners, which hit number four in the fall of the year. As the Jam were recording their sixth album, Weller suffered a nervous breakdown, which prompted him to stop drinking. In February 1982, the first single from the new sessions — the double A-sided Town Called Malice/Precious — became their third number one single and the band became the first group since the Beatles to play two songs on BBCs Top of the Pops. The Gift, released in March of 1982, showcased the bands soul infatuation and became the groups first number one album in the U.K. Just Who Is the 5 OClock Hero hit number eight in July, becoming the groups second import single to make the U.K. charts.

Although the Jam was at the height of its popularity, Weller was becoming frustrated with the trios sound and made the decision to disband the group. On the heels of the number two hit The Bitterest Pill, the Jam announced their breakup in October of 1982. The band played a farewell tour in the fall and their final single, Beat Surrender, entered the charts at number one. Dig the New Breed, a compilation of live tracks, charted at number two in December of 1982. All 16 of the groups singles were re-released by Polydor in the U.K. at the beginning of 1983; all of them recharted simultaneously. Bruce Foxton released a solo album, Touch Sensitive, and Rick Buckler played with the Time UK; neither of the efforts were as noteworthy as the Jam biography the two wrote in the early 90s, which contained many vicious attacks on Weller.

Immediately after the breakup of the Jam, Weller formed the Style Council with Mick Talbot, a member of the Jam-inspired mod revival band the Merton Parkas. After a handful of initial hits, the Style Council proved to be a disappointment and Weller fell out of favor, both critically and commercially. At the end of the decade he disbanded the group and went solo in the early 90s; his solo albums were both artistic and popular successes, returning him to the spotlight in the U.K. The legacy of the Jam is apparent in nearly every British guitar pop band of the 80s and 90s, from the Smiths to Blur and Oasis. More than any other group, the Jam kept the tradition of three-minute, hook-driven British guitar pop alive through the 70s and 80s, providing a blueprint for generations of bands to come.
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