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1970年代後半のUK音楽シーンをリードした彼らの4作目である。パンキッシュなビート感をみじんも失うことなく、音楽表現の幅を飛躍的に広げることに成功した傑作だ。
パンク、ソウル、R&Bといった雑多な要素が、スリーピース・バンド独特の緊張感あふれるサウンドによって一気に吐きだされる…。そのとんでもない高揚感は、スリリングの一言だ。「ロック的衝動と音楽的完成度の共存」をこれほどまで鮮やかに達成した作品は、まず見当たらない。ザ・ジャムは本作によって、名実ともに英国の国民的バンドへと登りつめることになる。（森 朋之）
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The preceding album,
All Mod Cons, had already proved there was more to The Jam than just being Mod revivalists, but it was
Setting Sons that established Weller as a songwriting force to be reckoned with. The lead-off single "Eton Rifles" was Weller's most confident effort to date--a scathing look at class divisions in Thatcher's Britain. Originally planned as a concept album--The Jam's equivalent of The Kinks'
Village Green Preservation Society--only fragments ("Little Boy Soldiers", "Wasteland") of this original vision survived, and the finished album centred on The Jam's customary guitar, bass and drums, although enhanced by fuller arrangements and production. The nostalgic "Saturday's Kids" is one of the highlights, and the album concludes with a breezy thrash through "Heat Wave". Fondly remembered as a singles band,
Setting Sons is proof that The Jam also made some great albums.
--Patrick Humphries
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