Q - p.1254 stars out of 5
-- "[The album] marks the point of Weller's artistic blooming....Weller had broken free of the pack and secured The Jam's future."
Q - p.129Ranked #8
in Q Magazine's "10 Essential Reissues Of 2006."
Q - 6/00, p.71Ranked #50
in Q's "100 Greatest British Albums" - "...The past met the present on ALL MOD CONS and the sparks flew in a white-hot Rickenbacker fusion of punk, pop, psychedelia and R&B....this LP is driven by anger..."
Alternative Press - 5/01, p.96
"...ALL MOD CONS remains Weller's finest hour...full of infectious energy and masterful songwriting: a post-punk classic..."
Magnet - p.112
"[I]t plays like a book of really good short stories."
Mojo (Publisher) - p.1145 stars out of 5
-- "ALL MOD CONS encapsulated life in dull mid-'70s suburbia with sharp, faintly surreal character songs..."
NME (Magazine) - 9/18/93, p.19Ranked #11
in NME's list of The Greatest Albums Of The '70s.
NME (Magazine) - 10/2/93, p.29Ranked #57
in NME's list of the 'Greatest Albums Of All Time.'
The Jam: Paul Weller (vocals, acoustic & electric guitars, piano, harmonica); Bruce Foxton (vocals, bass); Rick Buckler (drums, percussion).
Producers: Vic Coppersmith-Heaven, Chris Parry.
Audio Remixers: Paschal Byrne; Dennis Munday.
Recording information: Eden Studios (07/1978-09/1978); Rak Studios (07/1978-09/1978).
Photographer: Tom Sheehan .
After the success of their first two albums (IN THE CITY and THIS IS THE MODERN WORLD) within the span of barely a year-and-a-half, the Jam was not as pleased as it should have been. They had been extremely successful, but clearly the band (especially Weller), was chafing at being pigeonholed as "mod" revivalists. While the Jam's first two albums were clearly influenced by the mod movement of the early '60s, Weller was far too clever a songwriter to stick to the limitations of any one genre. ALL MOD CONS is the sound not just of an English youth movement, but of an English musical tradition of literate songcraft epitomized by writers such as Ray Davies of the Kinks, whose classic song "David Watts" is covered here.
Weller's usual bombast is herein subsumed by gentler, more rhapsodic concerns, and he even manages a credibly gentle love balled in "English Rose." Of course the band still offers its share of unadulterated "rock" songs, but on ALL THE MOD CONS the lyrics are more likely to address the problems of English racism ("Down In The Tube Station At Midnight") than simple boy-girl dilemmas. This album marks the maturation of a brilliant songwriter.