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

 

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HE WROTE THESE WORDS AS A LIGHTHEARTED TRIBUTE TO A FRIEND — BUT NO ONE KNEW IT WOULD BECOME THE ANTHEM OF HIS FINAL BATTLE. Back in 2017, during a charity golf event at Pebble Beach, Toby Keith found himself sharing a cart with the legendary Clint Eastwood. Clint was nearing his 88th birthday, yet he was still working, still directing, and still full of life. Toby, curious about how the Hollywood icon stayed so sharp, asked for his secret. Clint’s answer was simple but profound: “I just don’t let the old man in.” Toby was so moved by that philosophy that he went straight home and turned those words into a song. When he recorded the first demo, Toby actually had a bad cold. His voice was unusually gravelly, tired, and raw. Clint heard that “imperfect” version and insisted it stay exactly that way for his 2018 movie, The Mule. Back then, it was just a quiet, soulful track that most of the world barely noticed. Everything changed in 2021 when Toby received his stomach cancer diagnosis. Suddenly, the song he wrote for Clint became the story of his own life. Those lyrics were no longer just a tribute—they became a daily prayer for strength. The world finally felt the true weight of that song in September 2023. Toby stepped onto the People’s Choice Country Awards stage to accept the Icon Award. He was visibly thinner, and his hands trembled slightly, but his spirit was unbroken. He joked about his “skinny jeans,” then he began to sing. There wasn’t a dry eye in the house. Overnight, a song from five years prior surged to the top of the charts. After playing his final trio of shows in Las Vegas that December, Toby peacefully passed away on February 5, 2024, at age 62. Clint Eastwood later shared a photo of them together, a final salute to his friend. Time eventually catches up to everyone, but Toby Keith showed us all how to face it with dignity, courage, and a guitar in hand. Do you remember the title of this final, powerful masterpiece by Toby Keith?

HE WAS 70, STRUGGLING TO STAND, AND THE INDUSTRY HAD ALREADY WRITTEN HIM OFF — UNTIL HE COVERED A TRACK BY A ROCK STAR HALF HIS AGE AND BROKE THE WORLD’S HEART. By 2002, Johnny Cash was a man surviving on memories. He had outlived most of his peers. His record label of nearly three decades had abandoned him. His health was a wreckage of diabetes, pneumonia, and failing nerves. There were moments in the recording booth when his producer, Rick Rubin, could hear the literal sound of a voice breaking. Then Rubin presented him with a raw, industrial rock song about the depths of depression and self-harm. Cash made one simple change — replacing a profane lyric with “crown of thorns” — and transformed a young man’s angst into his own final testament. The music video was shot inside his shuttered museum in Nashville, a place crumbling under the weight of dust and silence. June Carter was there, looking at him with an expression of profound, tragic realization. She would be gone in three months. He would follow her just four months later. When the original songwriter finally saw the footage alone one morning, he broke down. He later admitted that the song no longer belonged to him. The video went on to win a Grammy and was hailed by critics as the greatest music video ever filmed. It has been streamed hundreds of millions of times since. But its true power isn’t in the numbers or the awards. It continues to haunt us two decades later because it is the sound of a man who has stopped running from the end — a man who sat down in the fading light and finally told the absolute truth.

NO ONE KNEW WHY TOBY KEITH KEPT VISITING THE OK KIDS KORRAL EVERY WEEK DURING HIS FINAL 2 YEARS — EVEN AS HIS OWN CANCER WAS TAKING OVER… UNTIL A NURSE FINALLY TOLD THE TRUTH In 2006, Toby Keith launched a foundation for children battling cancer, inspired by the loss of his lead guitarist’s 2-year-old daughter to a tumor in 2003. By 2014, he turned that vision into reality, opening the OK Kids Korral in Oklahoma City—a sanctuary where families of pediatric patients could stay for free. Then, in 2021, the world stopped when Toby was diagnosed with stomach cancer. Yet, instead of retreating into his own pain, Toby began appearing at the Korral every week. He wasn’t there to sign autographs or put on a show. He would simply stand in the quiet hallways, watching the children go about their days. Outsiders assumed he was inspecting the building. The staff figured he was there to lift spirits. But following Toby’s passing in February 2024, a veteran nurse finally shared what really happened. She had asked him why he pushed himself to come when he was so exhausted. Toby leaned heavily against the wall and whispered: “These kids showed me how to be a warrior long before I ever had to fight for my own life. I’m just here to pay my respects—while time still allows.” The world believed Toby Keith built the Korral to rescue those children. In reality, it was those children who were quietly holding him together at the end. What remained a secret until his very last visit—just 11 days before he slipped away—was how Toby stopped in front of a single name on the memorial wall: the little girl whose story began it all two decades earlier. He stood there in total silence, longer than anyone had ever seen him stay in one place.