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The Young Mod's Forgotten Story - Part 2

Pete Townshend coined the term power-pop back in 1967. He said it was what the Kinks, the Small Faces and the Who were playing. Meaty Beaty Big And Bouncy nails it. Fourteen singles spanning the years 1965-69. The Kids Are Alright; Anyway, Anyhow, Anywhere; I Can’t Explain; Substitute; Magic Bus – each one a worn thin groove on an old LP. And that album sleeve, the sepia toned Who circa 1971, bearded and long-haired, leering out the window at a bunch of scruffy kids on the steps of a derelict terrace. It says, ‘that’s who we were and this is who we are’.
By 1978, the Jam have infused power pop with the anger and energy of punk. Weller writes songs of frustration, youth, lost love and broken promises. Rickenbacker poetry that speaks to suburban kids and pisses off Tony Blackburn on Radio One Round Table. But fire and skill’s not all the Jam cut and paste from the 100 Club days. There’s that get off your arse and do it yourself attitude.
Summer 1981 and I’m trying to make up for a wrecked education. I’m reading for myself, Orwell, MacInnes, Larkin, Auden. Tony Fletcher and his fanzine Jamming! received the Weller stamp of approval. Fletcher and Weller create Jamming Records. Weller also creates a publishing company, Riot Stories, that puts out themed collections of new writing. And because this new world of mod sensibilities and expression is ours too, Jamming! fanzine and Riot Stories give me a first shot at getting into print. The poems are raw, direct, published and pretty awful. I meet up with Fletcher at a Jam gig in Hammersmith Palais at the end of ‘81. He’s on the Jamming! merchandise stall, there’s a hello and a brief handshake – ‘Cheers mate, nice to seeya’. No time for anything else. It’s the night The Jam record the live version of a new song – Town Called Malice.
It’s late Sunday night before Monday morning. You’ve got an early start and I’ll be on the 7.42 to Charing Cross and from there, the Jubilee tube to Bond Street. Meaty Beaty Big And Bouncy is one of a handful of records in the rack under your bed, between Motown Mod Classics, Glory Boys, All Mod Cons and Changestwobowie. There are others, but these are the albums we’ve played over and over in this room. Unless you’re winding me up by playing Marilyn’s single on repeat. This boy’s myopic taste in music is changing, but please, not Marilyn. Again. Downstairs we smoke a last cigarette, kiss goodnight – one of those teenage kisses that burns into you – and I’m out into the dark and the cold, bump-starting the Vespa down the street so as not to piss off the neighbours.
The morning sees a bleary-eyed catch-up with a few mates as the train crawls into town, stalling interminably outside Grove Park. Too tired for conversation. At Charing Cross we’re gone, lost in a stampede  – office temps and shop assistants, bank clerks and salon juniors, making a few quid. Keeping up with the Smithers-Joneses, avoiding the Mr Cleans.
I don’t mind the job, not that bothered about the commute most of the time. I take what I can get. And what I’ve got is a full time version of my old Saturday job on the shirts and ties at Selfridges. We get regular bomb scares now, which means searching the racks for suspect devices. It does have some perks, a discount on clothes for starters and decent money – enough to keep up the payments on a new Vespa PX125. Lunchtimes I leg it down to Chappells in Bond Street and check out guitars.
Monday morning’s generally a bit slow. I’m loafing behind the Van Heusen counter with Leigh, Crazy Harry Shah and Mrs Nadler. The boss is on the trail and I’m looking to avoid cleaning the same glass display cabinet I cleaned in a half-arsed way half an hour before.
On the shop floor there is a maze of twenty or thirty carousels loaded with ties. Yves Saint Laurent, Cardin, Balmain; silk, polyester, wool; paisley, polka dot, plain, stripe, regimental or just mental. You get the picture. A lot of ties. The deal is you approach a customer ask if they’re looking for something specific; a tie to match a particular shirt perhaps? You find a similar shirt, match ties, makes sales. Only the boss is on commission.
I serve a couple of customers. I finish with one, then I see this guy checking out the ties. I’ve never been the type to get excited about the minor telly personalities or film stars we occasionally get in; there was a bust up among the Jewish contingent on the staff when Topol came in a couple of Saturdays back, won by Mrs N. But this one says he’s looking to match a blue suit, a white shirt. I’m thinking something extravagant, a designer number. Nah, he wants something more classic. In the end we settle on a club stripe, mid-blue and brown silk.
He pays. Over at the cash desk. Question is, do I ask for an autograph?
The Jam always meant more to me than just the records and gigs. The energy and togetherness of the band and audience live was something else. But I also got a scrap of self-belief which otherwise in those days was hard to come by.
Some memories are worth trying to protect, keep safe. And whether you take your opening cue from the style, the scooters, the music, the dancing, the credo, the friendships, or all of the above, the deal is what you do with it. Where does it take you and where does it leave you? If it ever does.


  1. Great story Nick, although with that brilliant autograph it could nearly move into the realms of a documentary of the times.
    Waiting for you to get the Back Row Army into a piece, don't mind you naming me as long as it's not too derogatory !
    Mike Wadlow

  2. cheers Mike. We'll have to get together over pint for a reminiscence session sometime!

  3. Nick

    Just came across this. Very nice story. And I'm glad to know i was pleasant enough to you all those years ago. FYI, and it's very important, I started Jamming! at school, age 13, long before I knew Weller. He never put a penny into it, and I never asked him to, either. Once I got to know him, in 1981 he suggested starting a record label, with me running it - and so we did. And we called it Jamming! And a lot of people figured he was behind the fanzine as well. I can understand why. But those are the facts.

    Thanks for sharing your thoughts

    Tony Fletcher


  4. Tony,

    Thanks for your comment, for Jamming! and for the opportunity and inspiration it gave new writers all those years ago.

    My apologies for the midunderstanding re the magazine, its origins and funding.



    ps. I've still got the Apocalypse single Teddy/Release.


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