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20 of 22 people found the following review helpful
on 17 January 2001
When people talk about classic Jam albums, the names "All cod cons, and "Setting sons" are invariably mentioned. however, few people list "This is the modern world" on the top of their pile, and it is an injustice that cannot be overstated. Although people criticised "The modern world" for its lack of progression from "In the City", they must have fell upon deaf ears as there at least half a dozen instant classics on this record, if not the whole album. The title track and "Standards" are powerful, stomping arrogant punk anthems that really hits the spots. "London traffic" is fast and frantic, much unlike the subject matter. If the likes of "Life from a window", were released by Oasis, or Travis would probably be hailed as an all time classic and would almost certainly hit number one. Make no mistake; if you believe what the critics say, and don't buy this album, then you'll be deprived of some of the greatest songs ever written by paul weller, or for that matter, anyone.
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3 of 3 people found the following review helpful
on 17 October 2012
Opinion is a strange thing...for me, this album is their best. It's been generally dismissed over the years and I don't know why.
(My least favourite Jam LP is The Gift and Absolute Beginners the worst 45.)
Classics are Standards, Here Comes the Weekend, Life from a Window, Tonight at Noon and I Need You.
I've lived with this Lp since it was released and it still grows on me, so I'd say if you are new to the Jam, get this one...it's as valid as any of the others.
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2 of 2 people found the following review helpful
on 15 November 2012
This is by no means my favourite Jam album. It is however my favourite Jam album sleeve!
Nothing can match the buzz you got from the vinyl days of getting a new record home from the shop and putting it on your record player for the first time, but rebuilding your record collection onto modern style CD is pretty close.
Nowadays with more patience for sitting back and listening to the songs it hit home just how good and original this album was.
It has now been played much more than the vinyl version ever was!
Great stuff.
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2 of 2 people found the following review helpful
on 1 June 2013
I need you (for completeness) - nothing special, just a good digital version of a 'must have' album.
If you loved the Jam you've probably already got this and if you didn't then you are not going to buy it now.
Worth every penny to re-visit this album and my youth! As close as the Jam got on vinyl to their live set and that is how Midnight Hour should be played.
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on 19 June 2015
For many retrospective commentators, this is the "difficult second album" - hastily conceived and just as rushed in its recording, something of a turkey to be avoided by all but "diehard fans". I disagree. Personally, I prefer it to the r'n'b (supposedly) punky thrash of the debut album, "In The City". "This Is The Modern World", released when the fires of punk were still licking high into a disaffected grey sky, contains some angry punkers, like the storming title track and "In The Street Today", but it also offers up the beguiling "Tonight At Noon", "Life From A Window" and "I Need You". These are far from the doggerel from the pen of the writers' block-affected Paul Weller that many claim. They still stand up as great songs, winsome, appealing and strangely melodic. "Here Comes The Weekend", "The Combine" and "Standards" all bridge the gap between punk and Who/Small Faces type 60s material, while there is a stonking, frenetic cover of "In The Midnight Hour". If this album was hammered out in a hurry then who cared? Nobody did at the time. The Jam were on the move. Just as questions were starting to be murmured regarding the future, "All Mod Cons" came along. Most of the criticism of this album has been retrospective, some of that from Paul Weller himself. At the time I recall it being pretty well received.

One thing that must be mentioned though is Bruce Foxton's songs. Poor old Bruce. Credited with songwriting promise because of "Smithers-Jones" (the B side to a later, 1979 single, "When You're Young") the two offerings on this album show up just how wrong that idea is. "Smithers-Jones" was the only decent song he wrote for The Jam (Some of his later solo efforts have proved a bit better though). "London Traffic" is a fifth-form punky thrash and "Don't Tell Them You're Sane" is an embarrassment. I could have done better, honestly.

Overall, though, give this album a few listens if you're new to The Jam. Don't dismiss it.
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13 of 16 people found the following review helpful
on 29 January 2003
Always acknowledged as a bit of a weak offering from the Woking wonders at the time, this rush released LP has always been sadly overlooked by Jam fans and almost finished the group during the difficult 1978 period, until All Mod Cons and Tube Station propelled Well & Co into a different league.
This is however a really fantastic Mod album containing some of Weller's finest compositions and representing a giant leap forward from the debut, released only 5 months previously.
Coupled with what to these eyes is the best Jam LP sleeve (check out the fantastic drawings on the vinyl lyric sleeve-unforgivably missing from the CD issue) the songs are tough representations of life in Britain in the late 70's.
Particular favourites follow in sequence on side two: I need you, London Girl, Here comes the weekend. Great songs played to perfection by a bunch of teenagers who created a sound of the times, always with a nod back to the mid sixties, but none the worse for that.
Forget the hype! This album is one of their best. The sight of Bruce Foxton leaping in the air on the back sleeve gives an indication of how electric this band were at this time. All Mod Cons was a masterpiece that made the group and secured Weller's status forever. This record paved the way for that to happen and is it's self a sharp and sussed overlooked cracker.
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1 of 1 people found the following review helpful
on 29 August 2013
I hate it when people slag this album off and most have never listened to it I think its a great album lots better than in the city which I do like too but you can feel the change in the music leading up to there third album and masterpeace all mod cons if its so bad how come it still sells well 36 years on
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8 of 11 people found the following review helpful
VINE VOICEon 11 October 2003
Five months on from 'In The City' The Jam released 'This Is A Modern World', seen at the time as rushed and less forceful than the assertive aggressiveness of 'In The City' it has worn the years well.
Strarting off with the powerful 'Modern World' which when taken with the equally searching 'Combine' shows just how good a lyricist Weller was becoming.
Bruce Foxton's then throwaway 'London Traffic' is ironically more topical today than it was then. His most powerful Jam song the slightly disturbing 'Don't Tell Them Your Sane' sits well with Wellers best.
Weller's political position was becoming clearer as exersised in 'Standards' and the astute social commentary of 'In The Street Today', all this sat beside the power pop of 'London Girl' and 'Here Comes The Weekend' and the fine cover of 'In The Midnight Hour'.
All in all it is a good album pointing as it does to even greater things to come.
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on 30 April 2015
like most Jam albums, some great songs and some not so great. Modern World is a great track and one of my Jam favourites. London traffic - hmmm.
Like the soul cover of Midnight Hour on the end though.
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3 of 5 people found the following review helpful
on 12 October 2009
This CD has long been the topic of debate among Jam fans. Certainly by any measure it probably isn't up there with later classics such as All Mod Cons, Setting Sons and Sound Affects but time has actually been very kind to this second album from one of Britain's finest bands. Many of the tracks count among favourites of Jam fans. It offers a more refined sound from the harshness of their debut but it is rougher than those which followed. This album captures The Jam in a transitional period, just as music itself was changing. In short it is an album which they simply had to make and without it, the refined brilliance of their later albums would probably not have happened. For this reason therefore it is as important as any of the group's catalogue.

It's clear that Weller and co. learned much from the experience of this album and the seeds for what was to follow are sown here. The Modern World was always a live favourite and it together with In The Street Today are echoes of In The City and capture Weller's anger and disillusionment at what he saw in Contemporary Britain. However, the mellower Weller begins to emerge here with songs like Tonight At Noon, Life From A Window and I Need You. The songwriting is at times more thoughtful, in the brilliant Standards this is highly succesful whereas in The Combine and Bruce Foxton's Don't Tell Them You're Sane less so but above all, despite its shortcomings this album still has the edge you would expect from The Jam.
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