Additional personnel: The Jam Philharmonic Orchestra.

Engineers: Alan Douglas, Vic Coppersmith-Heaven.

Includes liner notes by Wayne Olsen.

Personnel: Paul Weller (vocals, guitar, keyboards); Bruce Foxton (vocals); Steve Rudi (saxophone); Mick Talbot (piano); Rick Buckler (drums).

Audio Remixers: Alan Douglas; Roger Wake.

Recording information: Town House Studios, London, England.

Photographer: Andrew Douglas.

The Jam's Setting Sons was originally planned as a concept album about three childhood friends who, upon meeting after some time apart, discover the different directions in which they've grown apart. Only about half of the songs ended up following the concept due to a rushed recording schedule, but where they do, Paul Weller vividly depicts British life, male relationships, and coming to terms with entry into adulthood. Weller's observations of society are more pointed and pessimistic than ever, but at the same time, he's employed stronger melodies with a slicker production and comparatively fuller arrangements, even using heavy orchestration for a reworked version of Bruce Foxton's "Smithers-Jones." Setting Sons often reaches brilliance and stands among the Jam's best albums, but the inclusion of a number of throwaways and knockoffs (especially the out-of-place cover of "Heat Wave" which closes the album) mars an otherwise perfect album. ~ Chris Woodstra

Britain's a funny place, but not always in the literal sense. While apparently placid on the surface, in reality England has always had issues with class, race, and socio-political turmoil. In 1980 Margaret Thatcher had taken power as Prime Minister, and the youth culture that had usually reserved its disdain for the dominant Labor party had a compelling new target. Not so coincidentally, in 1980 The Jam released SETTING SONS, their strongest and most political album to date.

If The Jam's first three albums are a tribute to the resiliency of British working class youth, SETTING SONS is a call to arms. In the context of politically informed songs such as "Eton Rifles'" and "Burning Sky," even a cover of the Motown chestnut "Heatwave" seems to take on political connotations. The albums centerpiece, the haunting mini-epic "Little Boy Soldiers" leaves no doubt as to the intensity of Weller's ire, with its sarcastic references to shooting to kill for "Queen and country," and lambasting of United States support for Thatcher ("God's on our side and so is Washington"). Luckily the usual Weller hooks are there as well, so it's safe to hum along even without knowing what the fuss is all about.

The Jam's Setting Sons was originally planned as a concept album about three childhood friends who, upon meeting after some time apart, discover the different directions in which they've grown apart. Only about half of the songs ended up following the concept due to a rushed recording schedule, but where they do, Paul Weller vividly depicts British life, male relationships, and coming to terms with entry into adulthood. Weller's observations of society are more pointed and pessimistic than ever, but at the same time, he's employed stronger melodies with a slicker production and comparatively fuller arrangements, even using heavy orchestration for a reworked version of Bruce Foxton's "Smithers-Jones." Setting Sons often reaches brilliance and stands among the Jam's best albums, but the inclusion of a number of throwaways and knockoffs (especially the out-of-place cover of "Heat Wave" which closes the album) mars an otherwise perfect album. [In 2001, Collectors' Choice Music reissued the album with nine bonus tracks, all of which were available on singles either just before or just after the release of the album.] ~ Chris Woodstra