Modernism.
Stay relevant. Challenge conformity. "Make It New."
All 3 things we can attribute Paul Weller with attempting over the course of his musical journey.
In this piece I want to pick out 7 songs by PW, that for me, define the "Modfather's" constant evolution.
IN THE CROWD (1978)
The last track on side 1 of "All Mod Cons" the third Jam LP, is the first of my selections.
The first set of songs brought to the recordings for AMC were rejected by the producers, they were made up mainly of Bruce Foxton efforts, as Weller had hit a writer's block after second LP, "This Is The Modern World."
What Weller came back with was his best collection of writing up to that point, he'd taken a step forward, by allowing the personal into his wordsmithery.
After 2 long players, the band were comfortable in the studio and growing in confidence.
The better writing and musical confidence combined to create this first chosen song, with it's tip toey entrance and protestations at not wanting to be like everyone else, culminating in striking "away from the numbers" with a wailing backwards guitar solo.
There were other songs I could have taken from this album, such as "A Bomb," or "Tube Station," or "English Rose," as this album marked a breakthrough both commercially and creatively that led to massive success and adulation for the newly crowned spokesman for his generation.
PRECIOUS (1982)
Prior to the final LP release by The Jam, "The Gift," Weller had crafted some of the most lasting pop songs of that era. These included "Start," "Going Underground," "That's Entertainment" and several more gems still played on radio to this day.
On "The Gift" there was a notable shift in sound, on the chosen track and eventual swansong, "Beat Surrender" to a more soulful, Motown/Stax, driven sound. In fact the 12" release of "Beat Surrender" featured covers of songs originally performed by Curtis Mayfield and Edwin Starr, showing Wellers intent to move away from his current musical stylings.
On "Precious," the funk truly took over for the first time, with its sexually charged lyrics, horn section to the fore and extended close to the song almost bordering on jazz, a clear indication of what was to come beyond The Jam.
LONG HOT SUMMER (1983)
At no point before, or since, in my opinion has PW sounded anywhere near this soulful. This was a million miles away from where he was with The Jam.
It's rolling synth bassline and breathy lyric delivery from PW marks it out as a classic love song, strongly styled by the sort of soul music coming out of America in the early 80's.
The Style Council covered a multitude of musical styles in their brief time together and a lot of great songs were lost on an unappreciative audience at their time of release, although they still scored a number of hits including, "Headstart For Happiness," "Speak Like A Child" and "My Ever Changing Moods."
Quite recently my girlfriend was amazed to learn that this was by the same PW I had been listening to throughout our relationship, "just doesn't sound like him!"
I reckon he'd be chuffed with that?
PROMISED LAND (1989)
By the end of the 80's, whilst still part of The Style Council, PW had become engrossed in another emerging, underground scene, House.
88 had seen the second Summer of Love, with the explosion of raves and ecstacy.
This offered PW an opportunity to change and grow musically again, moving with the times and keeping his music fresh, was and would always be at the forefront of his thinking, truly modernistic.
When PW turned up at Polydor, with "Modernism: A New Decade," in all essence, a house album, it was rejected and PW found himself without a record deal for the first time since being signed by Chris Parry back in 1977.
COUNTRY (1993)
After returning to the live scene as a solo artist and another spell of writer's block, he released the "Paul Weller" album, to some acclaim.
This seemed to open the floodgates and now the singer/songwriter couldn't stem the tide of creativity.
With the "Wild Wood" album, PW was firmly back in the mainstream.
"Country" has the feel of a man who has been around the world, twice, but still manages to find beauty in the landscape at the bottom of his own backgarden and wants you all to look around your own and find the peace he is in.
Entirely acoustic, PW urges us to "let go of the discontent you feel," and tells us to come "into the light out of the dark," as he himself has, at this point, done.
GOD (2008)
Beyond "Wild Wood," PW scored massive success with "Stanley Road" and continued to produce albums containing quality pieces, although none really had the prowess of those two standout albums.
By 2008 and with a new label, PW took a step towards introducing himself to another generation of fans, by releasing the fresh sounding "22 Dreams."
Only someone with more than 30 years of musical experience, could make such an eclectic sounding record work. The stylistic range covered on the 21 tracks is huge.
The selected track, a spoken word piece about the loss of faith, backed by a folk guitar, simple drum pattern and distant chorist offers up a 2 minute and 3 second insight into the self belief PW knows he has to fall back on, that he has his creativity.
TREES (2010)
And thus we arrive, at complete recording freedom.
"Trees" is absolutely bonkers, but PW, if anyone right now, can carry it off.
He sings varying parts, a caring mother, a beautiful lover with long brown hair and a cock hard fella, all leading to his final declaration of "take me back to the fields/where I need to be/so once again I can stand tall/and feel once more/a tree!!"
The current album, for me, is the best of his solo efforts, simply for it's ambition and to still have that fire burning after all his time is a lesson to us all.
Always stay true to what you believe in.
As a piece, this has to go down as a little hero worshipping, but hopefully someone may read it and decide to look into Paul's past or present, once more or again.
But one thing that surely cannot be disputed is Paul Weller is one of the greatest musical icons these islands have ever produced, with a body of work to match anybody else you want to put in your top 10.
@rudgey76
Wednesday, 2 March 2011
Tuesday, 1 March 2011
Beady Eye "Different Gear, Still Speeding"
Having set expectations exceedingly low for the first music released by Liam Gallagher and the rest of the ex Oasis lads, it turns out I'm pleasantly surprised by the result.
I was slightly concerned at the amount of hype the release had garnered before the band had played anything in public and my initial hearing of "Bring the Light" as a free download caused an initial reaction of downbeat eagerness for the remainder of the long player.
The album crashes in with a corking rock 'n' roller, "Four Letter Word," a stomping 4 minutes with LG declaring "nothing lasts forever," signalling no regrets at their new found Noel-lessness.
"Millionaire" follows it up with a lovely hippy ideal of real love between people being worth more than huge monetary riches, musically it has a bouncing La's vibe to it, plenty of jangling guitars and Beatlesque harmonies.
Third track in is debut single "The Roller." Driven along by a simple piano hook and Liam gently distorting his voice, with a small amount of echo, a la Lennon, the verses melody sounds like it was lifted from Instant Karma, the tune becomes a pleasant sing along after a few listens.
"Beatles and Stones" is a an obvious homage to the biggest influences on LG, another driving backingtrack with declaring he'll "stand the test of time/like Beatles and Stones."
"Wind Up Dream" sounds like Heavy Stereo, if anybody remembers Gem Archers previous alter ego, prior to him joining Oasis, I actually bought the Heavy stereo album so to me this is no bad thing.
"Bring the Light" flashes along with its rushing lyrics and Jerry Lee Lewis piano stabs.
"For Anyone" has a Travelling Wilbury feel to it, lots of strumming acoustics and a George Harrison feel to LG's vocal delivery, quite high in his range.
The album then has a brief slowdown with "Kill for a Dream" which for me would have easily fit into a Hurricane #1 set list, with it's swoony lyrics and deliberate Rickenbacher hook. Again no bad thing sounding like Hurricane #1, they took all their influences from classic rock, like Oasis and the aforementioned Heavy Stereo.
"Standing on the Edge of Noise," sees LG distorting his vocal again with a little vocoder but this will be a stomper come their live shows.
"WigWam," begins gently with sha la la's aplenty and defiant lyrics sung lowly, then towards the end psychedelic guitars and swirling backwards pianos accompany Liam singing "I'm Coming Up" pinched from Paul McCartneys Wings, a statement? Macca never looked back from leaving the best band in the world.
"Three Ring Circus" makes me think of Crowded House and I can't help thinking it's one stab at bursting the bubble that was Oasis.
"The Beat Goes On" trundles along until the chorus which has great sing-along-ability and does sound a little like "Seasons in the Sun" by Westlife or Terry Jacks?
"The Morning Sun" is a slow burner that builds from lapping sea and gulls, more echo on LG vocals, to epic sounding string accompianment and drum roll finish. It's "Little James" grown up brother!
All in all, it does not offend in any way and with each listen you'll pick out new favourites. It sounds like it will easily translate to the live arena, hopefully leaving no room for boozy idiots to shout out for Oasis songs mid set. So as a first attempt, as a NEW band, it's alright by me.
@rudgey76
http://www.youtube.com/my_playlists?p=3862EB90957C289F
I was slightly concerned at the amount of hype the release had garnered before the band had played anything in public and my initial hearing of "Bring the Light" as a free download caused an initial reaction of downbeat eagerness for the remainder of the long player.
The album crashes in with a corking rock 'n' roller, "Four Letter Word," a stomping 4 minutes with LG declaring "nothing lasts forever," signalling no regrets at their new found Noel-lessness.
"Millionaire" follows it up with a lovely hippy ideal of real love between people being worth more than huge monetary riches, musically it has a bouncing La's vibe to it, plenty of jangling guitars and Beatlesque harmonies.
Third track in is debut single "The Roller." Driven along by a simple piano hook and Liam gently distorting his voice, with a small amount of echo, a la Lennon, the verses melody sounds like it was lifted from Instant Karma, the tune becomes a pleasant sing along after a few listens.
"Beatles and Stones" is a an obvious homage to the biggest influences on LG, another driving backingtrack with declaring he'll "stand the test of time/like Beatles and Stones."
"Wind Up Dream" sounds like Heavy Stereo, if anybody remembers Gem Archers previous alter ego, prior to him joining Oasis, I actually bought the Heavy stereo album so to me this is no bad thing.
"Bring the Light" flashes along with its rushing lyrics and Jerry Lee Lewis piano stabs.
"For Anyone" has a Travelling Wilbury feel to it, lots of strumming acoustics and a George Harrison feel to LG's vocal delivery, quite high in his range.
The album then has a brief slowdown with "Kill for a Dream" which for me would have easily fit into a Hurricane #1 set list, with it's swoony lyrics and deliberate Rickenbacher hook. Again no bad thing sounding like Hurricane #1, they took all their influences from classic rock, like Oasis and the aforementioned Heavy Stereo.
"Standing on the Edge of Noise," sees LG distorting his vocal again with a little vocoder but this will be a stomper come their live shows.
"WigWam," begins gently with sha la la's aplenty and defiant lyrics sung lowly, then towards the end psychedelic guitars and swirling backwards pianos accompany Liam singing "I'm Coming Up" pinched from Paul McCartneys Wings, a statement? Macca never looked back from leaving the best band in the world.
"Three Ring Circus" makes me think of Crowded House and I can't help thinking it's one stab at bursting the bubble that was Oasis.
"The Beat Goes On" trundles along until the chorus which has great sing-along-ability and does sound a little like "Seasons in the Sun" by Westlife or Terry Jacks?
"The Morning Sun" is a slow burner that builds from lapping sea and gulls, more echo on LG vocals, to epic sounding string accompianment and drum roll finish. It's "Little James" grown up brother!
All in all, it does not offend in any way and with each listen you'll pick out new favourites. It sounds like it will easily translate to the live arena, hopefully leaving no room for boozy idiots to shout out for Oasis songs mid set. So as a first attempt, as a NEW band, it's alright by me.
@rudgey76
http://www.youtube.com/my_playlists?p=3862EB90957C289F
Friday, 25 February 2011
Songs of Definition pt.1
The Smiths - 'Accept Yourself'
Imagine yourself as a lanky, acne-ridden, fourteen year old. Physically you are a gargantuan target for ridicule. Luckily, you are a step above the true victims of high school life, the outcasts who spend every minute of the school day regretting their existence. Imagine you are a lanky, acne-ridden fourteen year old who has managed to avoid the pit of constant bullying. Sure, the bigger, cooler kids pick on you every now and again for being a 'boffin' or for being a bit 'weird' but you're by no means a suicide case. Imagine you're favourite subjects are History and in particular, English Literature. Imagine you love football, movies and music.
You are imagining me.
I felt out of place, as though I would never fit into the mould my friends, my parents and my teachers insisted on putting me in. "You can make something of yourself. You're a bright lad." I had neither the incentive nor the inclination to 'make something of myself'. I felt as though my close knit group of family and friends were forcing me into a corner. I often felt alone in a room of people I called my closest. It's a very adolescent sensation, to feel so very different to your peers but most teenagers go through it and I was no different. The torment I experienced daily, inside my own skull was greater than any external worry I could ever have had about what girls fancied me or the size of my dick or whether I could pop a boner on demand. Feeling like some kind of outsider, while enjoying the luxuries of a large group of people who loved me was a very strange experience. Guilt and disappointment.
By this time, as with most kids my age I was very familiar with a band called The Smiths, led by Johnny Marr's driving guitar and Morrissey's witty lyrics. I claimed songs like 'There Is A Light That Never Goes Out' and 'Please Please Please Let Me Get What I Want' were personal anthems but even then when I was at my most moping, at my most angsty and forlorn I felt that it was all a bit much, as though all of this emotion was a bit silly.
With my devotion to The Smiths at an all-time high I pooled some money together and bought 'Hatful of Hollow', a collection of B-Sides and John Peel sessions. On this was a song called 'Accept Yourself' in which Morrissey's wordplay was at it's most succinct. Playfully joking with lines that actually resonated with me. As was the way with Mozza, he made the most imploring messages seem commonplace with his everyman turn of phrase and irreverent humour. I won't patronise you by going into a full analysis of each line, explaining why they appealed to me so much at this juncture in my maturing brain but it was finally a song that rather than reinforcing any negatives in your situation or merely pretending everything was going to turn out alright, it was a song that jauntily suggested just accepting that you are going to look, behave and think the way you are doing BECAUSE you are you. Nothing else. You are who you are and rather than trying to struggle against the current or, indeed, submit, just enjoy the fact that you are a human being, much like any other human being with your talents, fancies, insecurities and issues. It reminded me that, Jesus, we're all a bit fucked up, we're all under duress but you needn't worry about yourself because that's the least of your worries.
By J. F. Rudge.
Twitter: @Johnny_Rudge
24/02/11
Imagine yourself as a lanky, acne-ridden, fourteen year old. Physically you are a gargantuan target for ridicule. Luckily, you are a step above the true victims of high school life, the outcasts who spend every minute of the school day regretting their existence. Imagine you are a lanky, acne-ridden fourteen year old who has managed to avoid the pit of constant bullying. Sure, the bigger, cooler kids pick on you every now and again for being a 'boffin' or for being a bit 'weird' but you're by no means a suicide case. Imagine you're favourite subjects are History and in particular, English Literature. Imagine you love football, movies and music.
You are imagining me.
I felt out of place, as though I would never fit into the mould my friends, my parents and my teachers insisted on putting me in. "You can make something of yourself. You're a bright lad." I had neither the incentive nor the inclination to 'make something of myself'. I felt as though my close knit group of family and friends were forcing me into a corner. I often felt alone in a room of people I called my closest. It's a very adolescent sensation, to feel so very different to your peers but most teenagers go through it and I was no different. The torment I experienced daily, inside my own skull was greater than any external worry I could ever have had about what girls fancied me or the size of my dick or whether I could pop a boner on demand. Feeling like some kind of outsider, while enjoying the luxuries of a large group of people who loved me was a very strange experience. Guilt and disappointment.
By this time, as with most kids my age I was very familiar with a band called The Smiths, led by Johnny Marr's driving guitar and Morrissey's witty lyrics. I claimed songs like 'There Is A Light That Never Goes Out' and 'Please Please Please Let Me Get What I Want' were personal anthems but even then when I was at my most moping, at my most angsty and forlorn I felt that it was all a bit much, as though all of this emotion was a bit silly.
With my devotion to The Smiths at an all-time high I pooled some money together and bought 'Hatful of Hollow', a collection of B-Sides and John Peel sessions. On this was a song called 'Accept Yourself' in which Morrissey's wordplay was at it's most succinct. Playfully joking with lines that actually resonated with me. As was the way with Mozza, he made the most imploring messages seem commonplace with his everyman turn of phrase and irreverent humour. I won't patronise you by going into a full analysis of each line, explaining why they appealed to me so much at this juncture in my maturing brain but it was finally a song that rather than reinforcing any negatives in your situation or merely pretending everything was going to turn out alright, it was a song that jauntily suggested just accepting that you are going to look, behave and think the way you are doing BECAUSE you are you. Nothing else. You are who you are and rather than trying to struggle against the current or, indeed, submit, just enjoy the fact that you are a human being, much like any other human being with your talents, fancies, insecurities and issues. It reminded me that, Jesus, we're all a bit fucked up, we're all under duress but you needn't worry about yourself because that's the least of your worries.
By J. F. Rudge.
Twitter: @Johnny_Rudge
24/02/11
Thursday, 24 February 2011
MTM an Intro
More Than Music....It's a feeling.
This blog is intended as a platform for music lovers to introduce other people to music they may never have heard or to review new or old releases or post a tracklist and tell everyone the importance of the songs included, literally anything musical goes and hopefully we can get a few people contributing.
As this is just an opening shot at this blogspot I'll chuck a recollection of one of the songs that stands out as memorable for the first time I heard it.
The Verve "The Drugs Don't Work"
After High School, I flirted briefly with A levels, consisting of Psychology, Sociology and English Lit, at the same time I was working part time at SuperDrug, stacking shelves on the tills and general Saturday kid duties. Like everybody of that age, I think, I was experimenting with how much I could drink, take and smoke before passing out, so soon enough, I was doing more hours on West Brom High Street, than at the college campus just to fund growing habits. Whilst working at SuperDrug I met a girl who I ended up living with for a couple of years, I quit college and SuperDrug, found full time work whilst she finished her A levels.
After she got her results, she decided to take a job as a lab assistant rather than carry on to University which displeased her parents. 12 months further in and she's changed her mind and enrols at the University of Manchester, leaving with promises of fortnightly trips back to visit. Not currently earning enough to make ends meet on my own, I moved back in with the folks, who themselves were on an un-repairable drift away from each other. Anybody who has left home and had to move back will tell you, it's horrid, all that freedom lost! My drinking and what not escalated causing ructions to the point I thought it best I found somewhere on my own.
By now I was working in a record shop in West Bromwich and found a cheap flat above the sports shop next door.
Around this time a couple of things hit me.
Princess Diana died and although I was not part of the national outpouring of emotion, it was one of those things that initially you don't believe can happen to someone of their worldwide stature.
Also Ms.Geology Degree decided to put me out my misery.
I'd been ignoring the fact she was back only during half terms and other breaks, I even kept the flame alive while she spent a summer break in South America rather than with me in my filthy flat!
It hurt but I carried on regardless safe in the knowledge I could afford lager and blow.
Over that period I also cut myself off from my family and any remaining friends from school.
I was drunk, drugged and lonely.
And then Steve Lamaq's exclusive play of the Verve's second single off Urban Hymns came on Radio 1's Evening Session.
And that is the only time I've ever cried at a song.
posted by Adam Rudge
twitter @rudgey76
This blog is intended as a platform for music lovers to introduce other people to music they may never have heard or to review new or old releases or post a tracklist and tell everyone the importance of the songs included, literally anything musical goes and hopefully we can get a few people contributing.
As this is just an opening shot at this blogspot I'll chuck a recollection of one of the songs that stands out as memorable for the first time I heard it.
The Verve "The Drugs Don't Work"
After High School, I flirted briefly with A levels, consisting of Psychology, Sociology and English Lit, at the same time I was working part time at SuperDrug, stacking shelves on the tills and general Saturday kid duties. Like everybody of that age, I think, I was experimenting with how much I could drink, take and smoke before passing out, so soon enough, I was doing more hours on West Brom High Street, than at the college campus just to fund growing habits. Whilst working at SuperDrug I met a girl who I ended up living with for a couple of years, I quit college and SuperDrug, found full time work whilst she finished her A levels.
After she got her results, she decided to take a job as a lab assistant rather than carry on to University which displeased her parents. 12 months further in and she's changed her mind and enrols at the University of Manchester, leaving with promises of fortnightly trips back to visit. Not currently earning enough to make ends meet on my own, I moved back in with the folks, who themselves were on an un-repairable drift away from each other. Anybody who has left home and had to move back will tell you, it's horrid, all that freedom lost! My drinking and what not escalated causing ructions to the point I thought it best I found somewhere on my own.
By now I was working in a record shop in West Bromwich and found a cheap flat above the sports shop next door.
Around this time a couple of things hit me.
Princess Diana died and although I was not part of the national outpouring of emotion, it was one of those things that initially you don't believe can happen to someone of their worldwide stature.
Also Ms.Geology Degree decided to put me out my misery.
I'd been ignoring the fact she was back only during half terms and other breaks, I even kept the flame alive while she spent a summer break in South America rather than with me in my filthy flat!
It hurt but I carried on regardless safe in the knowledge I could afford lager and blow.
Over that period I also cut myself off from my family and any remaining friends from school.
I was drunk, drugged and lonely.
And then Steve Lamaq's exclusive play of the Verve's second single off Urban Hymns came on Radio 1's Evening Session.
And that is the only time I've ever cried at a song.
posted by Adam Rudge
twitter @rudgey76
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