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I came to it via the radio and, with no long-standing relationship with Weller (I had Funeral Pyre on 7″ but I was barely out of short trousers when The Jam were number one) I could listen to it without the appreciation of what came before. Me? I wasn’t at all into house music but I did really like the new Style Council single. It’s great.įrom fighting, violence, people crying in the streetsįall down and spread their wings like dovesĪ spiritual anthem for unity and hope (and the consumption of MDMA), it resonated with those for whom the house scene was everything.
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#PAUL WELLER TOUR DATES 2016 SERIES#
Flutes flutter in and out of the mix, a keyboard motif joins it all together and Weller duets with DC Lee in a series of gospel-tinged “ oh yeahs” before the pair of them hit the verse. Setting yer actual house ablaze, electro bleeps and keyboard stabs herald in a whole new chapter in Weller’s career. Promised Land grooves on a bed of rattling drum machines and rolling, tumbling piano, bluesy and upbeat.
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Style Council – Promised Land (Full Length Version) Here were groups of people getting off on soulful American records and, much in the way he’d paid homage to the first wave of US soul by recording versions of Heatwave and Big Bird, he set about recording his own faithful version of one of the era’s anthems, Joe Smooth‘s Promised Land.
#PAUL WELLER TOUR DATES 2016 MOD#
Weller was drawn to house music for the same reasons he liked the mod scene. Had the record company been more switched on they’d have been aware of the house scene that had been bubbling nicely underground for a couple of years. The album – the presciently-titled Modernism: A New Decade – was shelved. “ We don’t have to take this crap,” thought Polydor. With the Stone Roses on the verge of indie guitar ubiquity, Weller had seemingly pulled a dud. This was Deep House music clean and linear yet soulful and emotive. You could forget the guitars too – there was nary a jazz chord or fuzzed-up Isley Brothers cop off within earshot. Blissed-out love replaced anger and fury. Weller’s seeming faux pas was to offer up in 1989 a 6th Style Council album that was unlike anything he’d recorded previously. When Young presented David Geffen with the limp rockabilly of Everybody’s Rockin’ just 12 months later (how’s that for a change in direction?!), his label boss famously sued him for offering up an album that was “ deliberately uncommercial and unrepresentative of Neil Young.” On the Kratftwerk-inspired Trans he adopted analogue synths over guitars, a concept album of sorts that highlighted the day to day issues experienced by his disabled son. And both have fallen foul of their record company when they’ve taken an unexpected turn in the road and delivered an album like none before it. Both stubbornly plough their own musical furrow and fans follow on or fall by the wayside as a result. Both have defied the critics to release solo albums that are the equal of and better than the material in their supposed golden years. Both left successful bands twice before going it alone. There are a lot of parallels to be drawn between the careers of Neil Young and Paul Weller. For every bizarre collaboration with Lenny Henry there’s a Gil Evans Blue Note arrangement to sate yourself with, and despite the Parisian pretentions, Marriott moustaches and C&A catalogue poses, there’s a strong body of work to be (re)discovered. Indeed, if all he’d been known for was the music he recorded with the Style Council, Weller would these days be something of a cult hero. Time and hindsight has been far kinder on his second band than you’d have believed back in 1985 though, and you can’t argue with the stellar run of singles they released during their 5 albums in 5 years lifespan.
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Splitting The Jam at the height of their success for the political, pastel posturing of the Style Council ruffled more than a few feathercuts. Paul Weller gives nary a thought to what others think of him and his music.