Sheridan, Tim (2006). "The Jam: Sound Affects". In Dimery, Robert (ed.). 1001 Albums You Must Hear Before You Die. Universe Publishing. p. 466. ISBN 978-0-7893-1371-3.

However, I would probably recommend only 'Dead End Street' as Weller doing covers has never sat well with me; mostly because they never seem to sit well with him. I think it comes down to Weller being a terrible liar. His covers usually sound unenergetic and uninspired (probably why covers LP Studio 150 is the only consistently awful record in the man’s otherwise upstanding catalogue). British certifications – Jam – Going Underground". British Phonographic Industry . Retrieved 18 January 2023.The Jam were huge in the UK during the punk era, scoring four top ten albums and four number-one singles. Emerging from Woking, on the outskirts of London, the three-piece band were fast and aggressive enough to initially be considered as punk. Subsequent albums showed a heavy influence from mid-1960s bands like The Who and The Kinks, as leader Paul Weller developed as an excellent songwriter.

There cannot be much more said about the album’s masterful centerpiece 'That’s Entertainment' that hasn’t been already. It’s a piece of urban art in league with Banksy – about finding beauty in the little noticed and sometimes maligned details of the grey mood and mundane routines of city life. The unsubtle words are accompanied by simple acoustic instrumentation, all appropriately stripped down for a tune that needs no bells and whistles. However, even this monster tune is not without influences worn brazenly. The lyrics take inspiration from a poem by the young poet Paul Drew called 'Entertainment' and Weller favourites The Small Faces’ 'Itchycoo Park' lends the spinal chords to the intro. King, Ian (7 August 2015). "The Jam: About the Young Idea: The Very Best of the Jam". PopMatters . Retrieved 25 March 2021.British album certifications – The Jam – Sound Affects". British Phonographic Industry . Retrieved 14 November 2020. Select albums in the Format field. Select Gold in the Certification field. Type Sound Affects in the "Search BPI Awards" field and then press Enter. Side one ends with “That’s Entertainment,” a song Paul Weller wrote in ten minutes after getting pissed at a pub, pissed off by the damp on the walls of his flat and disgusted at the squalor of working-class neighborhoods in London: And of course, we can’t forget the familiar ‘angry young man’ tunes that The Jam’s frontman was so well known for. The dystopian 'Set the House Ablaze' serves up an aggressive portrayal of a society being misled. Weller, not often one to understate in political reference, cites the Reichstag fire that cemented the Nazi Party’s hold over Germany as a comparison to the current political climate in England. Poll 1980 Results" (PDF). Record Mirror. 10 January 1981. pp.16–17 . Retrieved 15 November 2022– via worldradiohistory.com. The boy responds with similar disdain, reflecting Lennon’s take on the insanity of modern existence: “Everybody seems to think I’m lazy/I don’t mind, I think they’re crazy/Running everywhere at such a speed/’Till they find there’s no need”:

Jam frontman Paul Weller has opined Sound Affects to be the Jam's best album. [2] Influences [ edit ] Bubbling Under the Top LPs". Billboard. Vol.90, no.5. 4 February 1978. p.30 . Retrieved 25 March 2021. The Jam were seen as the centre of mod revival culture during the 1970s to the 1980s, and the lead singer of the band, Paul Weller, was seen as The Modfather. The band separated in 1982, following ten years active, and five years of success. Shortly after the band's break-up, Weller went on to form The Style Council, before embarking on a solo career and releasing his first studio album, which was self-titled, in 1992. Setting Sons: "RPM Top Albums (51-100)" (PDF). RPM. 32 (26). 22 March 1980 . Retrieved 25 March 2021.While The Jam were firmly embedded in Punk from a music perspective they stood apart from just about all of their contemporaries by wearing smartly tailored suits; the very epitome of a Mod revival band, in looks, if not in music. With Paul Weller’s songwriting ability and guitar playing, along with Bruce Foxton’s clever driving bass lines, they had a sophisticated sound that seemed deceptively simple, yet was complex in thought and style.