Bruce Foxton and the Story of the Jam - Red Raven News

About the Song

The Jam’s “Going Underground” is a quintessential piece of British new wave, capturing the energy and frustration of a generation. Released in 1980, it became the band’s first UK number-one single, solidifying their status as one of the most influential acts of the era.

The song is a perfect blend of punk rock’s raw energy and melodic pop sensibilities. Paul Weller’s driving guitar riffs and crisp vocals provide the backbone of the track, while the rhythm section delivers a propulsive beat that keeps the listener engaged from start to finish.

Lyrically, “Going Underground” reflects the disillusionment and alienation felt by many young people at the time. The song’s title can be interpreted in multiple ways, suggesting a retreat from the pressures of society, a descent into the world of youth culture, or even a metaphor for the band’s own rise to fame.

The music video for “Going Underground” is equally iconic, featuring the band performing in a London Underground station, further emphasizing the song’s connection to urban youth culture.

“Going Underground” remains a timeless classic, resonating with audiences of all ages. Its infectious energy, catchy melody, and relatable lyrics have ensured its enduring popularity.The Jam -

Video 

Lyrics: Going Underground

Some people might say my life is in a rut
But I’m quite happy with what I’ve got
People might say that I should strive for more
But I’m so happy I can’t see the pointSomething’s happening here today
A show of strength with your boy’s brigade
And I’m so happy and you’re so kind
You want more money – of course I don’t mind
To buy nuclear textbooks for atomic crimes
And the public gets what the public wantsBut I want nothing this society’s got
I’m going underground (going underground)
Well, let the brass bands play and feet start to pound
Going underground (going underground)
Well, let the boys all sing and let the boys all shout for tomorrow

Some people might get some pleasure out of hate
Me, I’ve enough already on my plate
People might need some tension to relax
Me, I’m too busy dodging between the flak

What you see is what you get
You’ve made your bed, you’d better lie in it
You choose your leaders and place your trust
As their lies wash you down and their promises rust
You’ll see kidney machines replaced by rockets and guns
And the public wants what the public gets

But I don’t get what this society wants
I’m going underground (going underground)
Well, let the brass bands play and feet start to pound
Going underground (going underground)
So let the boys all sing and let the boys all shout for tomorrow

La la la la…

We talk and we talk until my head explodes
I turn on the news and my body froze
These braying sheep on my TV screen
Make this boy shout, make this boy scream!

Going underground, I’m going underground!

La la la la…

These braying sheep on my TV screen
Make this boy shout, make this boy scream!

I’m going underground (going underground)
Well, let the brass bands play and feet start to pound
Going underground (going underground)
Well, let the boys all sing and let the boys all shout,
Going underground (going underground)
Well, let the brass bands play and feet go pow, pow, pow
Going underground (going underground)
So let the boys all sing and let the boys all shout for tomorrow

 

You Missed

MINNIE PEARL WALKED ONSTAGE AT THE GRAND OLE OPRY FOR 50 YEARS WITH A $1.98 PRICE TAG ON HER HAT — AND THEN ONE NIGHT, SHE JUST COULDN’T ANYMORE. Here’s something most people don’t think about with Minnie Pearl. That price tag hanging off her straw hat? It wasn’t random. Sarah Cannon — that was her real name — created it as a joke about a country girl too proud of her new hat to take the tag off. And audiences loved it so much that it became the most recognizable prop in country music history. For over fifty years, that tag meant Minnie was here, and everything was going to be fun. So imagine what it felt like when she couldn’t put the hat on anymore. In June 1991, Sarah had a massive stroke. She was 79. And just like that, the woman who hadn’t missed an Opry show in decades was gone from the stage. But here’s what gets me. She didn’t die in 1991. She lived another five years after that stroke, mostly out of the public eye, unable to perform, unable to be “Minnie” the way she’d always been. Her husband Henry Cannon took care of her at their Nashville home. Friends visited, but they said it was hard. The woman who made millions of people laugh couldn’t get through a full conversation some days. Roy Acuff, her old friend from the Opry, kept her dressing room exactly the way she left it. Nobody used it. The hat sat there. She passed on March 4, 1996. And what most people remember is the comedy. The “HOW-DEEE” catchphrase. The big goofy grin. What they don’t remember is that Sarah Cannon was also a serious fundraiser for cancer research. Centennial Medical Center in Nashville named their cancer center after her — not after Minnie, after Sarah. She raised millions and rarely talked about it publicly. There’s a story about the very last time Sarah tried to put on the hat at home, months after the stroke, and what her husband said to her in that moment — it’s the kind of detail that makes you see fifty years of comedy completely differently. Roy Acuff kept Minnie Pearl’s dressing room untouched for years after she left — was that loyalty to a friend, or was he holding a door open for someone he knew was never coming back?