Paul Weller News

Paul Weller To Play New York City In May!

2012-01-30T15:30:00.001Z

Paul Weller will return this spring for his only scheduled appearances in North America this year. Weller and his band will perform at a two-night stand at the Best Buy Theater in Times Square, New York on May 18-19. Tickets will go on sale this Wednesday, February 1st at Noon EST and can be purchased from Ticketmaster (Pre-Sale Password: Sonik) or on Friday at the Box Office.

Paul Weller's two New York shows will be in support of his upcoming album Sonik Kicks, which is scheduled for release on March 27 2012 on Yep Roc Records. The album is the follow up to the Mercury Prize Award nominated Wake Up The Nation and is also Paul's eleventh solo album.

Sonik Kicks features fourteen brand new tracks: "Green," "The Attic," "Kling I Klang," "Sleep of the Serene," "By the Waters," "That Dangerous Age," "Study in Blue," "Dragonfly," “When Your Garden's Overgrown," "Around The Lake," "Twilight," "Drifters," "Paperchase," and "Be Happy Children." Both Noel Gallagher and Graham Coxon appear as special guests on the album.

Paul Weller Will Play A 5th Night At The Roundhouse In London!

2012-01-13T15:16:00.001Z

Tickets go on sale tomorrow (1-14) for a 5th night at the Roundhouse in London where Paul will be previewing his forthcoming album, "Sonik Kicks." Weller will now play March 18-22, 2012!

Ticket Info HERE

Sonik Kicks will be released March 26, 2012

Paul Weller Reveals More Details About "Sonik Kicks" In New Uncut Magazine!

2012-01-08T17:46:00.000Z

This month's Uncut magazine features a short piece on upcoming 2012 releases and Paul Weller reveals a few more details about his "Sonik Kicks" album to be released in March.

A Few Quotes:

"I've been listening to a lot of free form music, call it electronica or whatever. And I like Lou Reed's Metal Machine Music, so I guess there's a certain amount of influence, but more in textural and sonic terms. There are some avantgarde and electronic elements that have been incorporated into the songs and there are a couple of soundscape pieces. There's an experimental edge to it, but with some good tunes."

"That Dangerous Age' is very funky. That's going to be the first single I think."

"Whoever came down to the studio on any given day usually ended up on the record."

Pre-Order Sonik Kicks Deluxe Book w/Art Print HERE

Paul Weller's Bandmate, Andy Lewis' New Album, The Red Inspectors!

2012-01-05T22:15:00.000Z

Paul Weller's bandmate, Andy Lewis has got a really groovy new record coming out on Acid Jazz Records. We were lucky enough to get an advance preview here at Paul Weller News and we highly recommend you checking it out. The album will be released this month on CD, and our preferred format, VINYL!

Here's a bit of info and some sound clips!

Latest tracks by The Red Inspectors

THE RED INSPECTORS are Miles Chapman, Andy Lewis, Pete Twyman and Alex Richards.

Andy Lewis came to the attention of the wider world as Blur’s tour DJ and the main man behind the Blow Up club nights in Camden Town that triggered the Brit Pop scene in the 1990s. Starting out with Pete and Miles as bass player in Pimlico, he later joined indie scene stalwarts Spearmint and has been Paul Weller’s bass player since 2007. He has released a number of solo recordings, and has collaborated with some legendary vocalists including Keni Burke, Reg King, Loleatta Holloway and Jess Roberts.
Alex Richards is a keyboard player of some renown. Touring extensively with Mohair and The Bluetones, he has also been on many recordings and has an instinctive flair for the Hammond organ.

Pete Twyman has been writing songs for as long as he can remember. He plays guitar, keyboards and drums, and has a gift for discovering interesting chords. With plenty of live experience with Pimlico, Thurman, The Four Stories and Paul Weller’s band, Pete’s got a great ear for detail and is in demand as a mastering engineer.

Miles Chapman has been playing drums since the age of 11. He’s a regular performer and session player, and has been a musical collaborator with Andy and Pete since 1988.

THE RED INSPECTORS was born out of a love and admiration for the music of the early Acid Jazz bands- Corduroy, Mother Earth, The James Taylor Quartet, Jamiroquai and The Brand New Heavies. Their debut album Are We The Red Inspectors? Are We? Was written and recorded earlier in 2011 and is a cheeky 21st Century mixture of Hammond Organ, detective TV theme tunes, easy listening, porn soundtrack, cocktail lounge, bossa-nova and electro-funk pop tunes. Between them, Pete, Miles, Andy and Alex play drums, percussion, bass, guitar and a variety of keyboards. They also occasionally sing.

Having found its natural home on the label that had such an influence on their musical development, Acid Jazz records is proud to release the debut release from THE RED INSPECTORS to co-incide with their 25th anniversary in January 2012.

The Red Inspectors play their first London show to promote their debut album "Are We The Red Inspectors? Are We?" on Thursday, January 12 at The Borderline, Orange Yard, Manette Street W1D 4JB, London, United Kingdom.

"It's the album we always wanted to make, on the label we always wanted to be on", they say. Featuring Andy Lewis (Paul Weller/Spearmint) on bass and Alex Richards (The Bluetones/Mohair) on keyboards, it's a genre-defying post-modern mash of soundtrack vibes, acid funk and pub rock which sounds better than it, er, sounds. With support from The Broken Vinyl Club. Tickets available from http://www.hmvtickets.com/events/5186

The Red Inspectors Info:

Facebook

Twitter

Official Site

Album Review from Music News.com
By: Andy Snipper

Genre pigeon-holing is getting even more discriminatory – this set is apparently Lounge-Core but The Red Inspectors seem, to me, to cross an awful lot of other boundaries on the way to a delightful set of ‘tunes’.

There are touches of cocktail jazz, detective show groove, soft-core porno cheese and Hammond funk wrapped up in here and the end result is a very tasty dozen numbers with an adult feel.

Miles Chapman and Andy Lewis are old muckers who started their career in the seminal Pimlico back in the early ‘90’s while Alex Richards on keys has been heard in bands such as Mohair and the Bluetones. Pete Twyman has played guitar with Paul Weller alongside Andy Lewis (bass).

The album comes in at around half an hour but the quality of the music is excellent and the variety never stops – one of my favourites has to be ‘Clutching At Straws’ which has psychedelic sitar alongside the strings in the backing and sits alongside ‘Monochrome Sunrise,’ which wouldn’t sound out of place on a Lalo Schifrin album!

‘Into Morocco’ has an oriental/African feel to it while the funk of ‘Frankenstein’s Finger’ is one for the dancefloor of a club with ‘A Go Go’ in its title – you can almost see the caged dancers and paisley patterns. ‘The Kardomah’ is a delightful piece of BoHo jazz and the most sophisticated number on the album.

All told a very fine album and a great ‘debut’.

Paul Weller Talks About "Sonik Kicks"

2012-01-05T21:36:00.003Z

"Groundbreaking? Maybe, possibly?"

Supremely Groovy New Video And Song From The Moons!

2011-11-28T13:13:00.001Z

We love The Moons here at PWNews.

Check out the super cool video for their new single, Double Vision Love.

The Moons will be playing a special Christmas show in London this Friday, December 2nd!

Get your tickets HERE and go help The Moons spread a little Holiday cheer.

http://www.seetickets.com/Event/THE-MOONS/Bush-Hall/572786

The Moons

Paul Weller's Vinyl Classics, Vols. 1-3! Streaming now via Mixcloud!

2011-11-22T19:53:00.001Z

Paul Weller's Vinyl Classics! by King Truman on Mixcloud

All three volumes of Paul's wonderful, "Vinyl Classics" series! Rare Soul, Funk, Jazz and R&B directly from his record collection. Join Paul and get Under The Influence!

Pre-Sale Ticket Info For Paul Weller's Roundhouse Concerts In London!

2011-11-22T11:12:00.001Z

Paul will be previewing his forthcoming album, Sonik Kicks IN FULL with two concerts at the Roundhouse in London on March 18 & 19, 2012. Tickets go on an exclusive pre-sale Wednesday November 23rd at www.ticketfactory.com and available in general on Friday the 25th.

"Weller isn’t one to wait 20 years to be invited to perform his ‘classic’ album. He would rather do it here and now, there’s no need for nostalgia to play its part. So SONIK KICKS will be performed in full at The Roundhouse on 18th & 19th March 2012."

Source: PaulWeller.com & Ticketfactory.com

New Paul Weller Album Titled, "Sonik Kicks" Out 26th March 2012!

2011-11-21T15:50:00.001Z

Sonik Kicks

Released 26th March 2012

Green

The Attic

Kling I Klang

Sleep of The Serene

By The Waters

That Dangerous Age

Study In Blue

Dragonfly

When Your Garden’s Overgrown

Around The Lake

Twilight

Drifters

Paperchase

Be Happy Children

Pre-Order Deluxe CD/DVD At Townsend Records

w/Ltd Edition Print!

Paul Weller Releases "Around The Lake" Digital Single THIS MONDAY!

2011-11-20T10:28:00.001Z

Paul Weller has a new single listed at Amazon.co.uk that will be available THIS MONDAY, 21 Nov 2011 for download/purchase. The song, "Around The Lake" was previewed heavily on Paul's last tour.

Around The Lake at AmazonUK LINK

A Few Guests On Bruce Foxton's New Album Including...Paul Weller!

2011-11-14T12:19:00.001Z

AN UNEXPECTED reconciliation with former Jam bandmate Paul Weller has led to a creative rebirth for Bruce Foxton.The bass player with Britain's most successful band of the late 1970s and early 1980s comes to the Hall for Cornwall on Tuesday with From The Jam.

But that group has moved on – no longer just a vehicle for performing the old Jam classics, Bruce, singer/guitarist Russell Hastings and former Big Country/Cult drummer Mark Brzezicki are now playing originals too.

Bruce told me: "Two-thirds of a new album has already been completed at Paul Weller's studio and it will be released next year, probably under the name Foxton, but it will still be the members of From The Jam. We will be playing two or three of the songs among the Jam stuff in Truro – hopefully Jam fans will relate to it, as there is a similar feel, mostly down to Russell's vocals which share a Weller vibe."

"Ray Davies is on one song and it looks as though Steve Cropper will be on another. He's one of my musical heroes, so to have a legend like him on the album is amazing. Funnily enough there is a Motown feel to some of the songs, but the one he's due to play on is the most un-Motown of the lot."

Paul Weller himself is also on the album – a move which definitely wouldn't have happened anytime in the last 30 years until now.Bruce explained: "Paul heard through a mutual friend that my wife Pat had been diagnosed with cancer. While she was having treatment in Israel, Paul rang to wish her well. Sod's law, I was down in the hotel bar and missed the call, but when I got back, she said, 'you'll never guess who called'."Sadly Pat, who Bruce had been with for more than 30 years, later died but he is delighted she got to hear Paul and Bruce's musical reconciliation on the song Fast Car/Slow Traffic on Weller's last album."I was devastated when she died and completely lost interest in the music, but I knew Pat would want me to carry on and since then the songs have been flowing."

The rekindled friendship with Weller does beg the question, will we ever see a full Jam reunion?"Well, Paul is obviously very successful, we have this new album and Rick (Buckler) is in a new band, which I'm really pleased about, so I don't see it happening. But it would certainly pay off my mortgage. Actually, even though it sounds poncey, if we ever did re-form it would have to be for artistic reasons. It would never be just for the money."

Don't hold your breath then. In the meantime, make sure you see From The Jam – so much more than a tribute band.For tickets priced £20 plus booking fees contact the box office on 01872 262466 or head to www.hallforcornwall.co.ukSee next week's What's On for an interview with former Jam drummer Rick Buckler, whose new band if... also play in Cornwall this month.

From This Is Cornwall

Paul Weller Interview With ShortList.com!

2011-11-11T21:11:00.001Z

PAUL WELLER

In mod we trust

"I swear Noel’s obsessed with me,” says Paul Weller, with a sly smile. “Honestly, he’s always mentioning me in interviews.” He’s responding to the Weller-comments in ShortList’s recent interview with Noel Gallagher. But the former Oasis guitarist isn’t the only rocker you could accuse of having a Modfather fixation.Since he snarled on to the scene with The Jam nearly 35 years ago, he’s cast an impeccably tailored shadow over pop culture as an icon of music, style and singular hairstyles. So it’s no surprise that Liam Gallagher has enlisted him to design his own Pretty Green capsule line. But does this foray into fashion mean the 53-year-old’s quitting music? Not a chance…

You’ve got a new collection on Liam’s label. Does that make him your boss?[Laughs] Yeah, I’m working for Liam. Working for the man. Nah, he hasn’t really been involved, but I showed him the stuff and he likes it. [Pretty Green] made a suit for me last year when I was playing the Royal Albert Hall and it all went from there.

How important is what you wear to your music?I grew up in a time when music and clothes were intertwined. If you liked a band’s music you liked the way they looked, their haircuts, their attitude and their influences. It was all one and the same. I don’t know if that exists today, but it was a real obsession for me and people of my generation. It went on at least until the end of the Seventies and maybe into the Eighties, but everything comes and goes so quickly now. Bands don’t last any more, but the fashions seem to stick around forever.

What are some of the common style errors men make today?Two-piece suits with trainers. I’m not having that at all. It seems to be a bit of an old, 60s rock-star thing. You see Ronnie Wood, Keith [Richards] and Macca doing it. I don’t know if it’s just that you get to that age and think, “God. I just want to wear something comfortable.” Hopefully it’ll never happen to me, because there are certain things you just shouldn’t do. Tracksuits have their place in the gym, but day-to-day and on the high street? Nah, I’m not having that either.

Who do you rate, style-wise?That Brian Cox looks pretty good. I like him. ‘The Mod Professor’. He’s got good hair.

Would you go the Wayne Rooney route if you started losing your locks?What, a transplant? Probably, yeah. That or some wigs.

The Stone Roses are back together, Liam’s already talking up the possibility of an Oasis reunion…Is he really? F*cking hell, that was quick.

We suppose so. Why do you think band reunions are such big business?Money talks, doesn’t it? Simple as that.

You’ve always said there’ll never be a Jam reunion. Are you genuinely not tempted?Hopefully I’ll never be that skint, mate. I mean, I don’t know the Roses that well, apart from Mani who’s a good mate. There’ll be a financial consideration, obviously, but I know from [Mani’s] point of view that he’s been mad to do it for years. He’s actually really wanted to get back with his mates and he loved that band. But for Ian [Brown] and John [Squire], I don’t know… I really don’t think there’s too much love lost there. We live in that age, though, don’t we? It’s either bands reforming, bands playing their classic album or tribute bands.

So you wouldn’t do a ‘classic album’ gig either, then?Nah. I’m going to go out and play a classic album next year, but it’ll be my f*cking new one. Not one from 20 years ago.

Where do you stand on nostalgia obsession, though? You obviously still love Sixties and Seventies style…It drives me potty. It’s a strange time. In some ways it makes me want to go away for a while and come back when people have got a bit of sense back. I find the whole nostalgia thing very strange right across the board. I don’t get it. I also think it doesn’t help new bands. Don’t get me wrong — there aren’t a lot of great new bands, and there’s a lot of sh*t about. But it hurts new bands coming up because nobody’s looking out for anything new. It’s just tried and tested old music, and it’s weird to me. I think it’s a phase.

What about modern pop — Noel Gallagher recently outed you as an X Factor fan in ShortList…He needs to be f*cking outed, mate. Yeah, I do watch it, but I also watch Peppa Pig with my six-year-old boy. And I’m more of a fan of Peppa Pig than I am of The X Factor. If anything, it makes more f*cking sense. I watch EastEnders with my missus because she’s mad for it, and Ben 10’s my little boy’s favourite, but it doesn’t mean I really love those programmes. It’s just something you have to do.

Noel also had a few things to say about the quality of your tea-making...Listen, Noel’s got a lot of stories, but how many of them are actually true is another matter. He’s from that Manchester school of bullsh*t, bless his heart. He’s got lots of stories and theories but few of them are rooted in truth.

Away from that, how do you feel about songs being used by politicians or in certain adverts? David Cameron infamously confessed to being a fan of The Eton Rifles…I’ve got less of a problem with an advert using it than I have a politician. When Tony Blair ran for office in 1997, they wanted to use The Changingman for their campaign, but I wouldn’t let them. So there are certain things I wouldn’t do. I don’t know how [Cameron] could have misread the words [to The Eton Rifles] so much. It’s pretty simple. They’re just f*cking stupid, I think.

Are you tempted to follow Keith Richards and write a memoir?I get asked to do one every year and I just don’t think I’m old enough to write one. The good thing about Keith and Bob Dylan was that they waited until their 60s. That’s quite nice, because you’ve got more of an overview. God willing, if I’m still here in 10 years’ time, I’ll do it.

Do you ever plan to retire?I don’t know if I always want to be travelling around the world, but I always want to make records. That’s for sure.

There was a newspaper story a few years ago about a drunken night in Prague. What actually went on?Well, it’s just because some c*nt’s always got a cameraphone nowadays. I’ve fallen over a million times. I’ve stopped drinking. Not because of Prague and some paper, but I stopped over a year ago now, just because I needed to. I feel brand new.

So what’s replaced the drink?Sanity. I wake up every morning clear-headed and optimistic. I wasn’t doing that when I was drinking. I was having a good time but then I’d spend three days depressed. Which was just not me. I look after myself now. I try to go to the gym at least three times a week and I’m just buzzing off that. It’s not that I’m against drinking — I’m very much pro-drinking — but for me I’ve come to the end of my relationship with it. I had a f*cking good run of it, though. Not that I remember half of it.

From ShortList.com

Paul Weller Talks Fashion With GQ!

2011-11-11T20:57:00.001Z

"Did I want anything from my dad's wardrobe? Only his copies of Playboy." Paul Weller is sitting in the former offices of Hammer Horror on, appropriately, London's Wardour Street, discussing his new range of suits for Liam Gallagher's Pretty Green label. One of the country's best-dressed musicians, Weller has gone from Burton-suited mod revivalist with the Jam in the Seventies to Britpop's founding father in the mid-Nineties, via the Style Council and the gloriously OTT Eighties.

Thankfully his new clothing line is inspired by the late Sixties and early Seventies and includes well-cut three-piece suits which can be worn both in and out of an office. "I wouldn't want to be involved in anything that I wouldn't wear myself," says Weller. "It's been a dream really - I brought reference pictures, graphics, sketches, vintage things I've collected over the years and stuff from my own wardrobe." Here he talks to GQ.com about satin jackets, Ben Sherman shirts vs Brutus ones and highly questionable "mutant quiffs"...

My dad was very stylish when he was a young man. I've seen photos of him and he was a Teddy Boy. He seemed to lose interest in clothes after a certain amount of time. That's the danger - when men get to a certain age, they let their wives pick their clothes. That's really wrong - it's basically saying, "I don't care what I look like any more." It leads to that thing when people say, "I'm comfortable," and start wearing trainers all the time. Remember there's a time and a place for tracksuits.

The first thing I bought that was really stylish was in 1969 when I was eleven. I saved up for a black, grey and white tie-dye grandad vest. It was too big - they weren't catering for kids my age - and hung off me but I loved it. It was from a boutique in Woking called Flacks which was amazing. It had a lot of post-hippie clothing but also a lot of stuff that skinheads were buying as well. It wasn't King's Road hippies and trendies - it was for people who had been mods in the Sixties and were now doing their own thing.

The Jam went through a phase of wearing satin jackets. But that was pre-getting signed and making it, when we were still playing the pubs and clubs - around '75. Shocking, really - what would you call them apart from "horrible"? We'd wear these white zip-up bomber jackets with black kind of loon pants and black and white shoes. That was our stage outfit. Shocking.

Have I ever had a nightmare with a bespoke suit? Cor blimey, loads of 'em. Not recently, but in the early Jam days, when we first got a little bit of money. We went to a place just behind Carnaby Street called Carnaby Cavern. We got some suits knocked up there - they were appalling, looking back on it. They were supposed to be mohair and had a slight sheen to them. They were really badly cut but you don't know when you're 18. We wore them every night on a really long tour - we did 40 dates and we'd sweat because we were playing these little clubs. We'd get them dry-cleaned wherever we could. By the end of the tour they'd shrunk - they looked like Norman Wisdom's suits.

When I was a suedehead, I would wear Fred Perry. Which was pretty standard: Levi's with the turn-ups, loafers or maybe Dr Martens and a Harrington. It was what you could afford. I always wanted a suit jacket. The older kids - I was only 16 - would be the ones you'd spend all night staring at. They'd be wearing a sheepskin, a Crombie or a tonic suit, maybe with oxblood cap-toed shoes. You'd see a few faces in there who would stand out and you'd think, 'What the f*** are they wearing?" Weeks later, everyone would be wearing the same thing that they were.

The difference between a Ben Sherman shirt and a Brutus shirt was about a pound. Ben Sherman's were always more expensive. They both had good points but Ben Sherman were the ones you aspired to - they were in an oxford cloth while Brutus' were paper-thin. Having said that, Brutus did some beautiful tartan and gingham shirts.

I think Miles Kane is a very dandy young man. He's always very nicely turned out. Liam from the Courteeners is always pretty smart as well. A lot of em are right scruffy little f***ers, really.

For me, if you were into the music of a band, you were into the way they looked as well. It used to go hand-in-hand - I don't know whether there are the same values any more. I've bought clothes based on record covers. Particularly from the formative music that turned me onto it in the first place when I was a kid, with the Beatles and the Small Faces. A lot of those Sixties soul artists were in really sharp sharkskin or mohair suits and Motown artists looked amazing.

Whenever you put a suit on, it always makes you a couple of inches taller. You just feel different.

Liam and I always talk about clothes whenever we meet. I don't see him that often but whenever we do it's "Where's that from?" I would never give him or anyone else advice on clothes, other to say, "Where did you get them shoes from?" You can't tell Liam Gallagher what to wear.

You can't really go too far wrong with a pinstripe. I own five and they're all pretty similar really - double-breasted or three-button. A few are bespoke - a friend of mine called Mark Powell does them.

My worst haircut? I've had loads over the years. Not to keep Eighties-bashing but there were some pretty shocking ones then. I don't know if anyone had a decent haircut then though. I was looking at old pictures of the Smiths the other day - Johnny Marr looks really cool now but back then we all had stupid haircuts of varying nature. Mutant quiffs and angular cuts!

Opening a clothes shop is something I've thought about from time to time. But I don't know about the reality of it. It's something that's always interested me. I've been into clothes as long as I can remember. It's great with this thing with Pretty Green - I can do my designs but I don't have the headaches of manufacturing.

If a jacket fits you good on the shoulders, that's a good place to start. If you're buying your first suit, make sure it fits. It's not necessarily their fault - most people can't afford a bespoke suit at two and a half grand - but you can buy a decent suit for £200. Try to look for something that fits your body shape.

Whatever fashion faux pas you've made in the past, you've got to stand by them. The Eighties were a pretty rough time. There are too many in mention. I used to think I came out of the Eighties unscathed but no one did.

I would like to do a watch for Pretty Green. But that's far off in the future.

No man should have cowboys boots in his wardrobe. That's fair enough, isn't it? Unless you're a cowboy, of course.

From GQ

Paul Weller To Play "Crisis" Charity Concert!

2011-11-01T19:00:00.002Z

From PaulWeller.com

On Tuesday December 20th at the Hammersmith Apollo, Paul Weller will join a host of stars from the world of music and comedy to perform at Stand Up and Rock: a music and comedy gig in aid of homelessness charity Crisis. Weller will be performing a full live show while there will also be appearances from Graham Coxon, Tim Minchin, Jo Brand and Ross Noble.

The night will help mark the 40th anniversary of Crisis at Christmas and all proceeds will go towards helping the charity continue its life changing services.Since 1972, Crisis has provided vital services for homeless and vulnerably housed people.

Speaking about the show, Weller said: "It'll be good to get on stage for Crisis again. In hard times like these more and more people need their help so I'm happy to support Stand Up and Rock as Crisis at Christmas turns 40."

Tickets for the show go on sale from 10am on Friday (November 4) via www.gigsandtours.com and www.ticketmaster.co.uk.Ticket prices will from £39.50 to £75 with a limited number of Weller meet and greet tickets available.

For more details visit www.crisis.org.uk.

This will be Weller's only remaining show of 2011, details of more UK shows set for 2012 will be announced in the coming weeks.

A Street Interview With Andy Lewis!

2011-10-17T13:18:00.002+01:00

Check this great little street interview from Paul's bass player
and superb solo artist, Mr. Andy Lewis!

Paul Weller On The Cover Of Q! Special Collector's Edition!

2011-09-23T22:11:00.000+01:00

From PW.com
To celebrate 25 years of Q, Weller is this month one of 25 musicians to grace the cover of 25 anniversary collectors issues of the magazine. Inside the issue Paul also discusses the music that most influenced and shaped his career.

The magazine goes on sale on September 27th but you can pre-order the Weller version via qthemusic.com from today (September 23rd), while stocks last!

Paul Weller Inspects The New Burberry 2012 Womenswear Line!

2011-09-23T21:46:00.000+01:00

Here's a few pics of Paul attending the Burberry Spring/Summer 2012 Womenswear line at Kensington Gardens in London on September 19, 2011.

Official Classic "The Jam" T-Shirt To Be Released In Limited Quantities!

2011-09-19T15:46:00.000+01:00

The Jam - Spray T-Shirt

The Jam are to release a fantastic new t-shirt of their classic logo at the end of October.

These t-shirts will be done on a limited pressing and sell out very quickly.

Order yours now or you will miss out! The t-shirt comes in Small, Medium, Large & X Large.

PRE-ORDER HERE!

Paul Weller Recipe In Teenage Cancer Trust's Rockstar Cookbook!

2011-09-07T22:51:00.002+01:00

With the exception perhaps of American Pie, gigs rarely rock to the sound of songs about food.

Musicians tend to prefer coffee and cigarettes to a nicely balanced risotto, and so food has become the preserve of novelty records such as music hall’s Boiled Beef And Carrots or more recently, a certain singing chef on South Park.But this month sees a new cookbook that admits something we’ve all been suspecting. After Status Quo frontman Francis Rossi fights through the fans, dives into his blacked-out limo and screeches off – he’s thinking about getting his raw fish onto marinade, rather than seasoning his groupies with a champagne shower.

The Teenage Cancer Trust’s Rock Star Cookbook features over 60 musicians and their recipes (although, strangely, no Bucks Fizz). From Katie Melua to Cliff Richard and Paul Weller, they all have one thing in common – a love of cooking.

Paul Weller loves… the perfect amaretti biscotti:
(Makes 36)

400g plain flour
2tsp baking powder
125g butter, softened
200g caster sugar
2 medium eggs
2tsp finely grated orange zest
1tsp almond extract
75g almond flakes, toasted
1 large egg white, lightly whisked, to glaze

Preheat the oven to 190C/Gas Mark 5 and line a baking tray with baking parchment.Sift the flour and baking powder together into a bowl and set aside. In another large bowl, cream together the butter and sugar until light and fluffy. Beat in the eggs, one at a time, then stir in the orange zest and almond extract. Add in the flour and stir until smooth. Finally, mix in the toasted almonds.Divide the dough in half and shape each into a log, about 5cm in diameter. Place both on the baking tray and gently flatten. Brush the tops with egg white. Bake for 25 minutes until light brown.Leave to cool slightly and then gently cut the logs diagonally into 1cm slices. Place flat on the baking tray and bake for a further 10 minutes until crisp. Transfer to a wire rack to cool. Store the biscotti in a paper bag to help them soften slightly.

Love Music Love Food: The Rockstar Cookbook is published by Quadrille, in support of Teenage Cancer Trust, priced £30. Available now

From Shropshire Star

"Slow Time Mondays" : The Legendary Splinters Project Surfaces!

2011-09-06T14:44:00.000+01:00

One of the finest fan made projects ever, surfaces at Mixcloud for all the world to hear. A true gem!!!

From Cpt. Stax:
10 yrs ago today, we (at Splinters) were working on the final details for our own version of the 2001 Acoustic Tour album, called "Slow Time Mondays" after Jim Pinkington's suggestion. All the tracks played on that tour not included on the official album, and out 1 month before "Days of Speed"! A successful project involving many members like Karl (archive supremo) Dodger (drawings) Martin (database distribution) me (artwork and tracks consultant) and others. The result was more interesting and "true" than the official live album, even if "just" audience recordings. The (free) distribution started just after the 9/11 tragedy, and I remember myself trying to do the back sleeve artwork at home that sleepless night, watching the news in horror and despair. In the end, almost unconsciously, I made what could be seen as a simple tribute to the twin towers. For the 1st time ever shared outside Splinters now, to celebrate its 10th anniversary. We know Paul Weller was (and is) an avid collector of fan recordings and he’s not against these kind of things, so I had a copy ready to be shipped to the Black Barn Studios (fao: John Weller!). But in the end we thought it wasn't a great idea, cos maybe the label, or John, would consider it as a bootleg (it’s not!). I’m pretty sure if we were able to give it to Paul in person he’d love it! Enjoy!

Splinters present: Paul Weller "Slow Time Mondays" 10th Anniversary by Cpt.Stax on Mixcloud

More info on this project HERE!

Paul Weller In This Month's Q Magazine!

2011-08-26T21:20:00.000+01:00

Paul appears in this month's issue of Q magazine with some pics and a short interview announcing that his new LP titiled, "Sonik Kicks" will be released in early 2012. Noel Gallagher appears on two tracks.

Universal Has Released The Jam's "All Mod Cons" via Their "Back To Black" Vinyl Series!

2011-08-15T13:30:00.000+01:00

The Jam

All Mod Cons

Original Release: 1978

Synopsis
An album that, according to Mojo magazine, “encapsulated life in dull mid-'70s suburbia with sharp, faintly surreal character songs”, the Jam’s 1978 album for Polydor is considered by many to be their finest achievement. Their third record within 18 months, the LP’s title might be meant a little ironically considering Messrs Weller, Foxton and Buckler are featured on the cover in a near empty room, this after having inadvertently kick-started a mod revival across the UK.

A transition from the more straight ahead punk attitude of their first two albums, all the songs were written by Paul Weller, except for a cover of the Kinks ‘David Watts’. Produced by Vic Coppersmith-Heaven and Chris Parry, it was ranked at No. 50 of the 100 Greatest British Albums Of All Time by Q Magazine, who reckoned, “The past met the present on All Mod Cons and the sparks flew in a white-hot Rickenbacker fusion of punk, pop, psychedelia and R&B”. The album closes with the classic Jam single, ‘Down in the Tube Station at Midnight’.

Side 1
All Mod Cons (1:21)
To Be Someone (Didn't We Have a Nice Time ) (2:30)
Mr. Clean (3:30)
David Watts (2:57)
English Rose (2:51)
In The Crowd (5:41)

Side 2
Billy Hunt (3:02)
It's Too Bad (2:37)
Fly (3:21)
The Place I Love (2:54)
'A' Bomb in Wardour Street (2:39)
Down In The Tube Station At Midnight (4:43)

Buy A Copy HERE!

Paul Weller's "Starlite" Official Promo CD!

2011-08-15T13:09:00.000+01:00

Here's a photo of the "Starlite" promo CD that has been popping up on some auction sites the past few days. Aside from the vinyl, this seems to be the only official route of getting the non-mp3 version of Paul's Summer single, as a CD version, up to this point, has not been announced for commercial retail release.

The Style Council - Promised Land (Drop Out Orchestra Unofficial Live Remix)

2011-08-15T12:52:00.000+01:00

Drop Out Orchestra live in studio, based on the original Pianopella mix.

The Style Council - Promised Land (Drop Out Orchestra Unofficial Live Remix) by Drop Out Orchestra

Paul Weller's "Starlite" Remix By: D-Pulse!

2011-08-09T15:52:00.000+01:00

Paul Weller - Starlite (D-Pulse remix) by D-Pulse

Written & produced by D-Pulse. Original by Paul Weller. Mastered by Snowboogie @ TMTC. ℗ & © ISLAND records (UK). 2011

Format: limited edition 12" vinyl single only.
OUT: 29.08.2011

PREORDER from Townsend Records shop HERE!

Released by: island
Release date: Aug 29, 2011

Paul Weller Visits His Photographic Exhibition In Woking!

2011-08-08T12:31:00.000+01:00

Steve Pilgrim & Paul Weller

Paul Weller Returns To His Roots At The Lightbox
By Beth Duffell
August 08, 2011
From Get Hampshire

WOKING’S Modfather returned to his hometown on Friday (August 8) to attend a private view of a photographic exhibition at The Lightbox.

Paul Weller was back in Woking for one night only when he was a guest at the museum and gallery for a Town Called Malice, Stanley Road Revisited: Photographs of Paul Weller.

Portraits by Weller’s favourite photographer, Lawrence Watson, adorn the walls of the upper gallery in the exhibition that runs until September 25.

The last time Weller made a public appearance in Woking was when he did a gig for Woking Hospice at Woking leisure centre, which raised more than £60,000 for the cause.

Paul, who was born at Woking’s Victoria Hospital, chatted to the Surrey Advertiser about the exhibition and music.

The evening also featured a private view of Snap, Crackle and Pop: British Pop Art meets the High Street in the Swinging Sixties.

Wearing an original paper dress, Katherine Higgins, TV presenter and specialist on BBC’s Antiques Roadshow, who co-curated Snap, Crackle and Pop, spoke about the work that had been done behind the scenes to create the colourful exhibition.

Sir Peter Blake CBE officially opened the event and Steve Pilgrim, Paul Weller’s drummer, entertained the crowds with live music.

Paul Weller's "Strarlite" Download Now Available For Amazon UK Customers!

2011-08-01T13:01:00.002+01:00

The three track digital EP is available for purchase HERE!
(Update: Rescheduled to August 5th)

Pre-Order Details For Paul Weller's Upcoming Single, "Starlite!"

2011-07-22T21:29:00.004+01:00

Pre-Order NOW available at Townsend Records!

Starlite [Limited Edition 12 Inch Single]
August 29, 2011
12 INCH SINGLE
£7.99

[PRE-ORDER HERE]

This summer Weller has a treat for his fans in the form of a brand new track - 'Starlite'.

The song comes accompanied by several remixes and will be available on 12" vinyl.

Speaking about 'Starlite', Weller said: "Here's a brand new track called 'Starlite' in time for the Summer. It's not from the forthcoming album, it's just for NOW! It's part Balearic beat, poetry and psychedelic music. I hope you like it. PWx"

1. A. Starlite (Original)
2. AA. Starlite (Drop Out Orchestra Remix)
3. B. Starlite (Black Van Remix)
4. BB. Starlite (D-Pulse Remix)

Paul Weller- Starlite by IslandRecordsA&RUK

Paul Weller - Starlite (Deadboy Remix) by DINMAG

NEW PAUL WELLER TRACK! "Starlite" LISTEN NOW!!!

2011-07-18T18:05:00.003+01:00

New Weller Track 'Starlite'

This summer Weller has a treat for his fans in the form of a brand new track - 'Starlite'.

The song comes accompanied by several remixes and will be available on 12" vinyl and as a digital download.

Speaking about 'Starlite', Weller said: "Here's a brand new track called 'Starlite' in time for the Summer. It's not from the forthcoming album, it's just for NOW! It's part Balearic beat, poetry and psychedelic music. I hope you like it. PWx"

The tracklisting for the iTunes bundle released on August 7th is:

1. Starlite (Original)
2. Starlite (Drop Out Orchestra Remix)
3. Starlite (Black Van Remix)

The 12" vinyl released on August 29th will contain:

A. Starlite (Original)
AA. Starlite (Drop Out Orchestra Remix)

B. Starlite (Black Van Remix)
BB. Starlite (DJ Pulse Remix)

Stay tuned for pre-order details coming soon...

LISTEN HERE!

Woking Born Paul Weller Focus of New Photography Exhibition at The Lightbox!

2011-07-08T21:20:00.000+01:00

From Woking People:

Woking's rock and pop legend, Paul Weller is the subject of an exhibition of portraits going on show this Summer at The Lightbox gallery and museum, titled Town Called Malice, Stanley Road Revisited: Photographs of Paul Weller it runs from 16 July - 25 September.The photographs are by Weller's favourite photographer, Lawrence Watson, whose photographs cover Weller's entire solo career to date. with live shots at gigs in Amsterdam, New York and London as well as photos that have never been shown before in public.

Paul Weller was born and brought up in Woking, a town which has provided an influence throughout his career. Woking was the birthplace of the band, The Jam and the subject of The Jam's hit single 'Town Called Malice'. The title of his third solo album, 'Stanley Road' was also named after the road Weller spent his early years in, in Woking.

Paul Weller is considered to be amongst one of the most iconic artists of all time, known widely both for the bands he was part of and his solo career. The Jam (1976-82) were band known for both their punk and power pop crossover genre music who achieved 18 consecutive top 40 UK singles. Weller wrote most of the songs and was also the lead singer and guitarist. After leaving the band Weller went on to form The Style Council (1983-1989) with keyboardist Mick Talbot from the mod influenced band, The Merton Parkas, and then, singer, DC Lee, following this with the launch of his solo career in 1991. He has achieved 10 chart topping albums as a solo artist so far. Bands from the Britpop era such as Oasis have noted him as an influence which has led to him latterly being nicknamed The Modfather.

Commended music photographer, Lawrence Watson has worked in the music industry since the early 1980's and worked with many other renowned bands and musicians including Run DMC, Oasis, Pulp and David Bowie. Watson first worked with Paul Weller when he photographed the album cover for The Style Council's last album in the late 1980's. Ever since, Watson has had unparalleled access to Paul Weller throughout his solo career and has been named by Weller as his favourite photographer.

With over twenty years of working with Weller, Watson has built up an extensive portfolio not only of portraits but a great insight into the musician's life. Watson remarks 'It is a pleasure to work with an artist who loves his craft as much as I do.' Watson has previously exhibited some of his iconic Weller portraits at The Royal Albert Hall (2010), in 'A Box of Prints: A Photographic retrospective of Paul Weller'

The exhibition at The Lightbox will feature photographs of Weller live in concert as well as some of his most famous album covers, including some photographs that have never been published before. As part of the exhibition limited edition prints of Paul Weller will be for sale, providing an exclusive opportunity for Paul Weller enthusiasts. Lawrence Watson's acclaimed book ' The World is Yours' will also be available to purchase, spanning over 20 years of his career and featuring music legends from Rock and Hip Hop to Brit Pop.

Speaking about the exhibition, Curator, Peter Hall said 'The Lightbox are delighted to be working with Lawrence Watson, who has had unparalleled access to Paul Weller over the last 20 years. Paul Weller fans will be able to bask in album covers, outtakes, live shots and behind the scenes photographs of Paul Weller, one of the country's most important musicians'

To complement the exhibition Lawrence Watson will give a talk (Iconic Images of Pop: Paul Weller 21 July 2011 7pm £6 advance booking necessary on 01483 737837) where he will discuss his career as one of the UK's leading music photographers. There will also be an exhibition tour providing a fascinating insight into how the exhibition was put together on 26 July 2011 12.30pm

For more information about The Lightbox opening times, and exhibitions please visit www.thelightbox.org.uk or call 01483 737800

Paul Weller To Appear On The Return Of The Old Grey Whistle Test!

2011-07-08T21:06:00.000+01:00

"Whispering" bob Harris is to host The Old Grey Whistle Test once again in a radio revival of the classic BBC music show.

Artists who performed on the original series, including Sir Elton John, Robert Plant and Paul Weller, will return for the Radio 2 series, which marks the programme's 40th anniversary.

Whistle Test is credited with giving early exposure to acts such as Bob Marley, Tom Petty, Bruce Springsteen and Steely Dan. The BBC Two programme ran from 1971 to 1987 and was a showcase for the "serious" rock acts beloved by Harris.

Starting in August, the 16-part radio series, Old Grey Whistle Test 40, will feature classic archive, new performances recorded at the famous Maida Vale studios, and interviews with artists who appeared on the original series. The line-up will include Roger Daltrey, Mark Knopfler, Yusuf Islam, Emmylou Harris and Simple Minds.

Harris, 65, described the new show as "a massive reunion, featuring superstars of British and American music".

Classic Paul Weller Video Flashback: Early Solo!

2011-07-04T14:41:00.000+01:00

From the early solo days:

Keep The Torch Burning!!!

Big Paul Weller Feature In Italian Vogue!

2011-07-02T23:14:00.001+01:00

More info HERE!!!

Paul Weller At The Azkena Rock Festival!

2011-06-28T16:34:00.002+01:00

From elcorro.com (translation by google):

On Saturday night lifted the Englishman Paul Weller, a mod yet elegant and enthusiastic in his work that won the fight by U.S. rocker Brian Setzer, who seems content with the styling routine. Weller made about 18 pieces in a bolus intense better than that given by the late last year in Bilbao Live Festival. And not just because Vitoria appear without tummy! His 76 minutes with the intensity struggled for half a minute passed valley, and rebounded to finish. The sound of the godfather of the mods was powerful and left diapers Setzer rockabilly. With her hair dyed blonde and proud opened cane, he sang with onomatopoeia, shook the funk and dance, played guitar with attitude, moved to the mic with the swagger of a dandy, was heard by a band on (the battery liked), perhaps at the time loosens valley to approach the experimental lisergia recovered the 'Start' of the Jam, became ideological 'Wake Up The Nation', the piano singing 'Pieces Of a Dream' by sending stern Peter Gabriel, made smooth soul to Sam Cooke and the final triad gave lessons for the brit-pop today.

La noche del sábado la levantó el inglés Paul Weller, un mod elegante y aún entusiasta en su labor que ganó la pelea al rocker yanqui Brian Setzer, quien parece conformarse con el estilismo rutinario. Weller hizo unas 18 piezas intensas en un bolo mucho mejor que el dado por la tarde el año pasado en el festival Bilbao Live. ¡Y no sólo porque en Vitoria apareciera sin barriga! Sus 76 minutos pugnaron con la intensidad, por la mitad pasaron un momento valle, y repuntaron para acabar. El sonido del padrino de los mods fue poderoso y dejó en pañales al del rockabilly Setzer. Con su pelo teñido de rubio abrió cañero y orgulloso, cantó con onomatopeyas, agitó el funk y el baile, tocó la guitarra con actitud, se movió ante el micro con la chulería de un dandy, se dejó escuchar por una banda sobrada (el batería gustó mucho), quizá en el momento valle se destensó por acercarse a la lisergia experimental, recuperó el 'Start' de los Jam, se tornó ideológico en 'Wape Up The Nation', al piano cantó 'Pieces Of a Dream' remitiendo por adusto a Peter Gabriel, hizo soul suave a lo Sam Cooke y en la tríada final dictó lecciones para el brit-pop actual.

Set List:

The Changingman

Eton Rifles

Push It Along

Blink (And You'll Miss It)

From The Floorboards Up

Into Tomorrow

Peacock Suit

7&3 Is The Striker's Name

Porcelain Gods

STaRt!

Whirlpools End

Fast Car, Slow Traffic

Wake Up The Nation

Pieces Of A Dream

Broken Stones

Moonshine

22 Dreams

Come On, Let's Go

Courtesy Of Learreta

Paul Weller To Play The Azkena Rock Festival!

2011-05-30T11:53:00.001+01:00

From Paul Weller Official:

On June 25th Weller will be heading to Vitoria-Gasteiz in Spain to perform at the Azkena Rock Festival.

The three day event will also see performances from the likes of Ozzy Osbourne, The Cult, Queens Of The Stone Age and Band Of Horses.

To get your tickets head to www.ticketmaster.es and visit the official website for more information on the festival.

Paul Weller Featured In Johnny Vegas' Series, Ideal!

2011-05-24T15:00:00.000+01:00

Dope opera Ideal makes its long awaited return to BBC3 on Thursday 26th May – and there will be some extra special guest stars knocking on Moz’s dingy door.

The seventh series of the seriously twisted comedy starring Johnny Vegas is set to feature Paul Weller, Rula Lenska and former EastEnders and Strictly Come Dancing star Kara Tointon, with Janeane Garofalo also returning for a second series.

Johnny said: “Paul Weller, or The Modfather, as the script rightly refers to him, is one of the coolest customers ever to step onto our sound stage. “He’s the Daddy! Pure class, and again, zero airs and graces.

Paul Weller Stops By The BBC's "Vinyl Revival"

2011-05-02T13:42:00.000+01:00

Paul visited BBC Radio over the weekend and played a batch of his favourite records. You can listen to a replay of the show this week HERE!

Pop-Up Player: http://www.bbc.co.uk/iplayer/console/b010wv58

Show Details:
It's the World's only Vinyl Music show, celebrating the format with musicians who are avid collectors. Presented by Pete Paphides, former Chief Rock Critic at The Times, and now writer for Mojo and The Guardian. He has a vinyl collection worth $1m.

In the first hour he invites Paul Weller and Laura Marling in together to share treasures from their collections. Then in the final hour he travels to the Brighton home of Norman Cook aka Fatboy Slim, to rummage through his collection.

Paul Weller Contributes New Song Called "Devotion" To BBC 2 Film, UNITED!

2011-04-19T14:46:00.002+01:00

Paul Weller has written and performed a song called "Devotion" specially for the film, United. The true story of Manchester United's famous 'Busby Babes' and the 1958 plane crash in Munich that claimed eight of their lives is recreated in this new BBC film. United can be seen on BBC Two on Sunday 24 April at 2100 BST.

More info on the film HERE!

Ltd. Edition Paul Weller T-Shirt In Support Of Teenage Cancer Trust!

2011-04-05T14:09:00.000+01:00

Colour:

Faded Black/White

Product Detail:

Paul Weller vintage jersey tee.

Printed graphics.

100% cotton.

Raw edge neck and sleeve trim.

Limited edition.

All profits from the sale of this tee will be donated to Teenage Cancer Trust.

ORDER HERE!

Teenage Cancer Trust Site

Review, Pics, Vids From Paul Weller's Performance At The Japan Disaster Benefit!

2011-04-04T12:15:00.001+01:00

From NME:

Beady Eye, Primal Scream and Paul Weller helped raise over £150,000 at a London benefit show last night (April 3) for victims of the recent tsunami and earthquake in Japan.

The gig at the O2 Brixton Academy, which was orchestrated by Liam Gallagher and the Modfather, also featured sets from Graham Coxon, The Coral and Richard Ashcroft along with a few surprise collaborations and covers by The Beatles.

The Coral were the first to cover the Fab Four as they kicked off the night with their take of 'Ticket To Ride' in between songs from their 2010 album 'Buttefly House'.

Graham Coxon quickly followed as he took the chance to debut new song 'Running For The Light' before wrapping up with 2004 hit single 'Freakin Out'.

Next up was Paul Weller who loaded the early part of his set with The Jam's greatest hits including 'The Eton Rifles' and 'Start!' sandwiched between classic tracks from his 1995 album 'Stanley Road'.

"Thanks for coming tonight and helping our brothers and sisters in Japan," he told the crowd before he introduced Stereophonics frontman Kelly Jones for a surprise collaboration of another Beatles classic 'Come Together'.

Jones then played a short acoustic set as did Richard Ashcroft, who got the whole venue singing for The Verve's 'Sonnet' and 'Lucky Man'.

Primal Scream recruited Sex Pistols bassist Glen Matlock to stand in for Mani at tonight's show which, like their recent tour, leaned heavily towards material from 'Screamadelica'.

The night was rounded off by Beady Eye who played a similar set to that featured on their recent UK tour, performing tracks from their debut album 'Different Gear, Still Speeding'.

Frontman Liam Gallagher, who was dressed in a long green anorak, dedicated 'Kill For A Dream' to "all the people in Japan."

Earlier, he also gave a shout out to The Coral sticksman Ian Skelly before launching into 'Bring The Light'.

"This one's for the drummer out of The Coral," Gallagher said. "Apparently it's his favourite song ever."

Before wrapping up the night with the final Beatles cover 'Across The Universe', he thanked the bands and the crowd for helping to raise funds for the British Red Cross Japan Tsunami Appeal.

Images Courtesy Of John Rawsthorne!

Cheers!

Lots more videos HERE!

XFM Image Archive From The Event HERE!

Pretty Green Ltd. Edition Shirt To Benefit British Red Cross Tsunami Appeal!

2011-04-03T22:19:00.000+01:00

‎
Pretty Green has designed a limited edition Japan Paisley Print Tee to raise money in aid of the British Red Cross Tsunami Appeal.

All profits from the sale of this product (£15) will go directly to the British Red Cross Tsunami Appeal.

All Details And Order Info HERE!

Paul Weller Set List From The Japan Benefit Concert!

2011-04-03T21:36:00.000+01:00

01. Peacock Suit

02. Whirlpools End

03. STaRt

04. The Changingman

05. Eton Rifles

06. Fast Car, Slow Traffic

07. Wake Up The Nation

08. From The Floorboards Up

09. Moonshine

10. 22 Dreams

11. Art School

12. Come On, Lets Go

13. Come Together w/ Kelly Jones

Paul Weller And Kelly Jones Will Duet At Japan Benefit Gig!

2011-04-01T21:38:00.000+01:00

Kelly Jones has told Xfm he's going to do a cover with Paul Weller at the Japan Disaster Benefit gig on Sunday night.

He gave us this hint as to what they will play:

"I think its a little beat combo from Liverpool, it's one of them."

The Stereophonics frontman will perform several acoustic numbers at the show at O2 Academy Brixton - which also features Weller, Beady Eye, Primal Scream, Richard Ashcroft, Graham Coxon and The Coral.

All the money raised from the show is going towards helping those who have been affected by the recent earthquake and tsunami in Japan.

The gig is sold-out - but Xfm is going to be broadcasting from backstage from 6pm.

You can donate money to the Red Cross Appeal now here.

Paul Weller Comments On The Japan Benefit Show In London!

2011-03-23T21:35:00.000Z

PAUL WELLER is relishing his shift at LIAM GALLAGHER's benefit show for Japan as he's got a strong connection to the country.

The former JAM frontman joins BEADY EYE, RICHARD ASHCROFT, PRIMAL SCREAM, GRAHAM COXON and THE CORAL for the April 3 show at London's Brixton O2 Academy.

He said: "I really wanted to do something to show solidarity and sympathy with the Japanese people. Japan is a place I've been to many times in the last 30 years.

"I've made many friends there and have been treated very well.

"They are a kind race. My heart goes out to them.

"The line-up is great for the show and it's gonna be a brilliant night."

Paul Weller Wearing Pretty Green Teenage Cancer Trust T-Shirt!

2011-03-22T13:20:00.001Z

Get Yours At Pretty Green!

Paul Weller To Play Benefit Gig For Japan!

2011-03-22T11:41:00.000Z

On April 3 Weller will join Beady Eye, Graham Coxon, Primal Scream, Richard Ashcroft and The Coral to play a special show at Brixton Academy in aid of the British Red Cross Japan Tsunami Appeal.

The show is being held to raise money for Japan following the devastating earthquake and tsunami on March 11.

Almost 8,500 people have died in the disaster with thousands injured and with nearly 13,000 people still missing the need for an immediate response is immense.

The Japanese Red Cross has been working on the ground since the disaster struck, mobilizing 85 teams - made up of 700 doctors, nurses and support staff who have provided first aid, healthcare and assistance in assessing the damage and the needs of the communities affected.

Tickets for the show go on sale this Friday (March 25) at 9am, limited to a maximum of 4 per applicant.

Tickets will be available from http://www.gigsandtours.com, http://www.ticketweb.co.uk and http://www.ticketmaster.co.uk or via the 24hr hotline on 0844 811 0051.

Paul Weller And White Lies To Support Kings Of Leon In Hyde Park!

2011-03-08T11:57:00.000Z

Kings of Leon have today announced that joining them as special guests at their 2 Hyde Park shows this June will be British Icon Paul Weller playing his only UK shows for the remainder of 2011, White Lies and Zac Brown Band.

Paul Weller has a career that spans over 30 years, he remains one of British music's most Iconic figures, still making relevant music and receiving critical acclaim. In 2010 alone, he received for his latest album "Wake Up the Nation", the Ivor Novello Lifetime Achievement Award, NME Godlike Genuis Award, Uncut Award for Album of the year and a Mercury Music Award nomination, as well as embarking upon a totally sold out UK arena tour plus 5 sold-out nights at the Royal Albert Hall. Speaking on playing his only UK outdoor shows of 2011, Paul had the following to say

"I'm really looking forward to playing the 2 nights in my home town at Hyde Park with Kings of Leon. They will be the only shows I'm doing for the rest of this year so we'll make sure they are top!"

In addition to writing and recording their second long-player 'Ritual' (released in January this year), the last 12 months have seen White Lies play stadium and arena shows as main support to Coldplay, Kings of Leon and Muse as well as their own hugely successful world-wide headline tour which included 2 sold-out nights at London's O2 Brixton Academy and was in support of their 2009 album 'To Lose My Life' which debuted at #1 on the UK charts when released in January 2009 and saw the band being awarded with 'Best New Band' gongs at both the Q and Mojo Awards.

In 2010, Zac Brown Band were named GRAMMY's "Best New Artist" and their second major label studio album 'You Get What You Give' (Southern Ground/Atlantic Records) debuted at #1 on the Billboard 200 chart. Their double platinum-certified, major label debut 'The Foundation' (Southern Ground/Bigger Picture/Atlantic Records) was one of Billboard's Top 20 albums of 2009. The now two-time GRAMMY Award winning group has headlined highly successful tours in the United States and recently toured with Dave Matthews Band on their 2010 their stadium tour. This marks the first time Zac Brown Band has toured outside of the United States.

Kings of Leon's highly acclaimed fifth album 'Come Around Sundown' (out now on Columbia Records) became their third consecutive album to debut at #1 when it topped the UK album charts on release last year, claiming both the biggest week one sales of 2010 & the biggest ever first week digital sales along the way.

Like last year's triumphant, sold-out headline performance to 65,000 fans and their brace of sold-out arena shows in December 2010; this year's Hyde Park shows are set to be one of the highlights of the summer. The dates are as follows:

Kings of Leon: Summer 2011

June 22nd London Hyde Park
June 23rd London Hyde Park

From MusicNews.com

Paul Weller Reveals Details Of Next Album!

2011-02-21T12:42:00.000Z

Following on from the huge critical and commercial successes of his last two albums, The Modfather isn’t wasting any time with his next release, telling Q Magazine he expects it to be completed by March and ready for release sometime around August or September.

2008’s ’22 Dreams’ and 2010’s ‘Wake Up The Nation’ were described by many as his best work since his early solo days when he penned modern classics like ‘Wild Wood’ and ‘Stanley Road’ but Weller isn’t taking anything for granted and is continuing to follow the model of his most recent work and incorporating a wide variety of influences and genres into the new album.

As yet untitled, Weller says that despite having only spent 8 days working on the album so far it’s close to being complete and he already has the eleven tracks that will make up the record. He’s also confident there will be a couple of singles; including one they’ve already trialled at live shows

“There’s one called ‘That Dangerous Age’ that we’ve been playing live that’s a mega tune with a funk edge to it. We did a couple of brand new tracks this week and they both sound like singles to me”

The album is being co-produced and co-written with Simon Dine (who also worked on 22 Dreams) and Weller describes the album as containing ‘strong, melodic pop, but mixed with electronic elements.’

Weller himself admits he’s hit an unusually prolific spell of writing but insists it’s an organic process saying he didn’t particularly have plans for a new album but once he started a few demos things snowballed from there and now he’s just months away from his 3rd release in 4 years.

When asked about a tour to promote the album he was less committal although suggested he is likely to get back on the road in 2012. ‘Probably next year. I want to get off the merry go round for a while and spend more time with my kids. And I want to record more. I want to do something a bit experimental – proper instrumental soundtrack music for an arty, European film.’

Be sure to check back to Stereoboard.com for a confirmed release date and tour when they are announced.

Tracks for the currently untitled album are:

Starlight
That Dangerous Age
The Attic
Be Happy Children
Around The Lake
Paper Chase
Twilight
Sleep Of The Serene
No Need To Be Alone
When Your Garden’s Overgrown
Green

From Stereoboard.com

This Is 41! New Mini Album From Andy Lewis!

2011-02-10T21:32:00.000Z

Andy Lewis has released a great new mini LP called, "41" on Acid Jazz Records. There is a superb 3 part interview with Andy at our good friend Yann's site, "The Cornershop." You can also get Andy's album on iTunes RIGHT NOW!

Here's a mini mix of the fantastic sounds you'll find on the album!

Andy Lewis - 41

Visit Andy Lewis:

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Paul Weller At The Metro Arena In Newcastle - Gig Review!

2011-02-10T21:19:00.002Z

FOLLOWING the cancellation of his December date, Paul Weller was at the Metro Radio Arena on Friday night. Gary Beckwith was there.

A BLUSTERY and wind-torn North East saw Paul Weller and his entourage sweep into a packed Arena at the weekend.

On my hike to the gig I lost count of the wind-swept Weller imitation haircuts adorned by fans, but what was in store was no pale imitation of the ex- Style Council and Jam frontman.

Opening with Push It Along the pace of the night was set. What followed was an eclectic mix of tracks from a formidable back catalogue.

Weller masterfully wove together favourites such as 22 Dreams, All I Wanna Do (Is Be With You), From The Floorboards Up, Dust and Rocks, and Jam and Style Council hits Start! and Shout To The Top

The energetic 52-year-old never let up the momentum except for a brief spell on organ and keyboards for crowd pleasers You Do Something To Me but picking up the pace again with Broken Stones.

The two-hour long performance cantered along without respite and at times the night felt like The Paul Weller and Steve Craddock show, the later wielding his guitar skills with relentless ease.

Not to take anything away from the rest of the band, the drummer stood out. He duly belted his way through the set and treated the thronging crowd to a solo set whilst the rest of the band took a quick break.

There was a healthy smattering of songs from Weller’s latest album Wake Up The Nation, with Moonshine, Trees, Find The Torch, and Burn the Plans the most memorable.

Latest single No Tears To Cry got an airing and although the night wasn’t awash with hits many associate him with, popular versions of One Bright Star, Whirlpool and a thrashing Come On/Lets Go more than sufficed.

The polished performance was backed by an impressive lighting set as well as two large screens just in case the fans at the back couldn’t make out the silver-haired Weller.

Never one for much stage banter, Weller let the music do the talking, only exclaiming to the crowd that he hoped the six-week wait for them to play since December’s cancellation was worth it.

And as the band burst into Peacock Suit and duly performed an encore of Changing Man, it was indeed.

From ChronicleLive.co.uk

Flashback! "Paul Weller's 12 Must Have Albums"

2011-01-20T20:50:00.000Z

Lack Of News Special Edition:

Internationalists! The songs in this presentation come from an article Paul did for the US magazine, Entertainment Weekly in 2005. It was a feature where Paul chose his "Twelve Must Have Albums You Gotta Get, By Any Means Necessary!" There are some truly fantastic records here. I've put together what I hope will be a cool way for you to musically experience the article highlighting a couple of tracks from each album in Paul's 12 in two sides.

As always, I do hope you enjoy and always remember to "Keep The Torch Burning."

Peace and SOUL,

HeavySoulBrutha DaveB...

Paul Weller's Must Have 12 Albums! by King Truman on Mixcloud

A Reminder Of Paul Weller's Rescheduled Concerts!

2011-01-11T17:58:00.000Z

From NME:

Paul Weller has announced the new dates for his rescheduled gigs in Aberdeen and Newcastle.

The two gigs, at Aberdeen ECC and Newcastle Metro Radio Arena, were postponed in December due to heavy snowfall. The Aberdeen gig will now take place on February 3 with the Newcastle show now set for February 4.

Tickets for the original shows are valid for the new dates.

To check the availability of Paul Weller tickets and get all the latest listings, go to NME.COM/TICKETS now, or call 0871 230 1094.

Paul Weller's "Find The Torch, Burn The Plans" Documentary on US TV!

2010-12-20T13:29:00.000Z

The Paul Weller/Julien Temple Documentary, "Find The Torch, Burn The Plans" is playing on the Palladia Music Cable Network HD in the USA this week.

Wednesday 12/21 @ 1am est

Thursday 12/23 @ 6pm est

Friday 12/24 @12:30pm est

Info kindly provided by Rich Ireland! Cheers!

Paul Weller - Tribute To John Lennon - Liverpool Echo Arena 2010!

2010-12-20T12:16:00.000Z

Courtesy of Glen W. aka brighton59!

Cheers!!!

A Christmas MOD Ball This Sunday At The 100 Club with The Moons!

2010-12-14T16:24:00.000Z

Ticket Info HERE

Event Info:

ROLL UP ROLL UP FOR A CHRISTMAS BALL FEATURING YOUR FAVOURITE MOONS!!!

WE'VE GOT SIGHTS AND SOUNDS AND MARVELS TO DELIGHT YOUR EYES AND EARS....

ITS BEEN A BUSY YEAR FOR THE MOONS AND NEXT YEAR IT GOING TO GET EVEN MORE FRANTIC!! A NEW ALBUM IS ON THE WAY FOR RELEASE IN THE NEW YEAR, PRODUCED BY EDWYN COLLINS IN LONDON. WATCH AND HAVE A CHRISTMAS DRINK WITH THE MOONS AT THEIR FINAL SHOW OF THE YEAR AT THE LEGENDARY 100 CLUB.

At the top of the bill

THE MOONS

With support from

CONNETT feat. MEL D

+ DJS

AND THE AMAZING

DRA DANCE COLLECTIVE (GO GO DANCERS)

Who will excite you with the grooviest dancing during the night and between the bands,

Tickets £15

Paul Weller Review From The Independent & The Guardian- Wembley Arena!

2010-12-14T16:10:00.001Z

Paul Weller, Wembley Arena, London
(Rated 2/ 5 )

Reviewed by Enjoli Liston
Tuesday, 14 December 2010

Boasting a rich career that started with mod-punkers The Jam more than 30 years ago, Paul Weller struck gold again this year. Delirious reviews welcomed the Modfather back to the UK charts in April with his 10th solo album, Wake Up the Nation, a short, sharp and striking work of fresh experimental hits nominated for the Mercury Prize. It's this new material that dominates Weller's set on the last night of his UK tour at Wembley yet, surprisingly, his performance massively misses the mark.

Despite a crisp, smooth and self-possessed rendition of "Have You Made Up Your Mind" from 2008's acclaimed album 22 Dreams, flashes of feedback and incompatible levels undermine Weller's efforts. On the new record, "Aim High" is soulful and uplifting. Yet on stage, overbearing electronic effects result in a bizarre but inescapable (and probably very unwelcome) vocal comparison to an "In the Air Tonight"-era Phil Collins, before plunging Weller's lyrics into a muted, indistinguishable blur.

Next up is a guest appearance by Weller's son Natt on guitar for "Echoes Around the Sun". It's unremarkable, and the fans are unmoved.

"You're pretty quiet for a Friday night in London, aren't you?" he jibes, challenging his motionless fans to prove him wrong. But Wembley doesn't rise to it until Weller stokes up a classic from The Jam archive (one of only two) – "The Eton Rifles". More than three decades after the song was first released, Weller still delivers with biting energy and just enough nonchalance for appearances. It's a hit with the crowd, but sadly the newfound passion doesn't last.

Weller's five year-old son, Mac, makes an unsurprisingly shy entrance onstage as tambourine-player for newbie "Up the Dosage", before a distinctly wet "No Tears to Cry". The usually exciting musical mixture of folk, psychedelia, honky-tonk and pop in "Trees" jars together, the title track from the newest album falls surprisingly flat, while a rendition of "Fast Car" (featuring grime rapper Devlin) feels try-hard. Weller's new material may retain an innovative edge when recorded, but onstage, "That's Entertainment" and Nineties ballad "You Do Something to Me" are still the stars of the show. Judging from this performance, the Modfather has become a dad-rocker.

From The Independent

________________________________________________________________________________

Paul Weller
Wembley Arena, London

Caroline Sullivan
guardian.co.uk, Sunday 12 December 2010 22.00

Paul Weller said something curious during his Wembley set, the last show of a year that has seen him applauded for getting his oomph back with the Mercury-nominated album Wake Up the Nation. Noting that the place was quieter than he'd expected for a Friday night, he said: "Spandau Ballet and the Thompson Twins will be on later, don't you worry." Invoking fellow early-80s chart denizens got a laugh, but it was an oddly dated jibe from someone who's remodelled himself into a vital, forward-looking artist.

At any rate, the audience were more enthusiastic than he acknowledged, repaying the effort he put into two hours and over two dozen songs. Any artist in the fifth decade of their career can count themselves lucky to have fans who greet new songs (and he played plenty, from the current album and 2008's 22 Dreams) with only a touch less pleasure than cornerstones like The Eton Rifles.

It wasn't just that Weller sounded re-engaged and forceful on tunes you'd thought were incapable of drawing another breath, such as dad-rock staples Peacock Suit and From the Floorboards Up; he also poked his nose into new and different areas with verve. Introduced as "a sort of psychedelic tango thing", the haunting One Bright Star was just that, and on the uncharacteristic, metal-influenced Fast Car/Slow Traffic, he was full of the spirit of punk alongside a torrent of peeved-sounding syllables from grime MC guest Devlin. He delivered part of Trees, a kind of ambitious song suite, through a megaphone.

Two of his sons lent a hand on separate tunes, with the award for sangfroid going to toddler Mac for rattling a tambourine with impressive ennui. Mac's dad, by comparison, looked like he was having the time of his life.

From The Guardian

BBC Review Of "Find The Torch" DVD!

2010-12-13T12:57:00.000Z

As a document of the modern Paul Weller, this couldn’t be more accurate.
James McMahon - 2010-12-09

Thirty-two years on from putting together his first band, critical consensus of Paul Weller’s music continues to change as often as the seasons. An often misunderstood yet always uncompromising fixture of British rock, his last three studio albums have been spoken of with the sort of respect he last enjoyed with 1995’s Stanley Road.

The current thinking towards Weller is fond; only the unenlightened give kudos to the growly, cabbie-beloved pub-rocker myth his naysayers would tag him as. 2005’s As Is Now started the renaissance. The pastoral, psychedelic 22 Dreams was one of the strangest releases of 2008, while April’s Wake Up the Nation, saw him reunited on record with The Jam’s Bruce Foxton for the first time since 1982. Not that it suggested a man looking back.

That record, more than any other, showcased a sound that was laced with timeless punk fury, with adventurous Kevin Shields-assisted sound collage 7 & 3 Is the Strikers Name more visceral than the output of many his junior. His rant on the title-track of "get your face off the Facebook and turn off your phone" may have fleetingly made him sound all of his 52 years, but the energy of the piece was youthful, angry and alarming.

This live release, packaged with Julien Temple-directed documentary Find the Torch, Burn the Plans, splits its running time between a performance at the Royal Albert Hall and at the BBC Theatre from earlier this year. A divide runs down the middle of the material, too; it’s almost contrary that the Woking man has chosen to cap an experimental flourish with a live release that spends much of its running time pairing his more laboured compositions (Wild Wood, et al) with songs from the last three albums. But as a document of the modern Paul Weller, it couldn’t be more accurate.

Because what’s most notable about the release, more than the special guests (Richard Hawley, Lauren Prichard, Kelly Jones on a pair of Jam hits), is how comfortable the songwriter appears marrying his past and present. The challenging moments of his recent records rarely jar with the familiar Beat-indebted rock of yore, and what comes transpires sounds like a man enjoying, yet sporadically prodding his most recent reappraisal.

Who knows what’s next for a man with constant form for surprise, or how critical opinion will play out from here. But right here, right now, Paul Weller sounds like a man confidently assured of what it means to be Paul Weller right now.

From The BBC

Paul Weller Interview From Wales.co.uk!

2010-12-13T12:51:00.000Z

Holding out for a hero: Paul Weller interview
Dec 11 2010 - Dave Owens

Never meet your heroes they say, you’ll only be disappointed. David Owens cast aside those cliched worries for a meeting with the musician who, more than anyone else, helped shaped his life.

I HAD a sizeable ache in the pit of my stomach that refused to shift. A knotted ball of nerves, emotion and fear were there for good reason.

These steel-reinforced butterflies had been in an internal holding pattern from the day confirmation was agreed on an interview I’ve been waiting for my whole life. I was about to meet my rock ’n’ roll hero – the voice of a generation who flicked the switch for me musically, politically and sartorially 30 years ago.

It was 1979 when my world changed forever. I was 10 and my older sister had a boyfriend who allowed me to borrow his copy of The Jam’s All Mod Cons album. It was transparent, even to my pre-pubescent eyes, that he was trying to butter up his girlfriend by cosying up to her little brother, but still, I wasn’t complaining (he made a pretty good job of it. He’s now my brother-in-law and has been since 1986). Picking up the album, with the ultra-cool trio of Paul Weller, Bruce Foxton and Rick Buckler staring back at me from the cover, I slid the black vinyl from the pristine white inner sleeve with a sense of excitement. When the needle hit the record it was as if a bomb exploded in my mind. The intoxicating, adrenaline rush of furious guitars, sneering vocals and visceral thrills were like nothing I’d heard before.

Prior to this epochal introduction to new wave, punk and rhythm ’n’ blues, I had experienced a series of half-baked liaisons with every child’s favourite furry environmentalists The Wombles and teen pop teddy boys Showaddywaddy.

The Jam, however, were the real deal – a dazzling collision of serrated chords, sharp-suited chic, razor-sharp lyricism and an unstoppable self-belief that inspired rabid fanaticism amongst their adoring following. For a time in the 1980s, they were the biggest band in Britain and far beyond. I’d been set onto the path to musical fulfilment, and my guiding light was Paul Weller.

Now, more than three decades after first discovering The Jam, I was set to be granted an audience with my idol. To not put too fine a point on it and deviate from grammatical elegance, I was petrified. I’d not been this tense since recent nerve-wracked landmarks such as the birth of my daughter and the similarly queasy experience that was Cardiff City’s Championship play-off final loss to Blackpool in May.

Of course, as a journalist you’re often afforded the luxury of meeting musicians, celebrities and all manner of people in the public eye. While I’ve been wielding my keyboard in anger as a professional hack since 1989, I like to think I’ve got this interview lark down to a fine art. However, no conversation has left me suspended in such a dizzying stupor as my meeting with the Modfather.

So what was the root cause of this anxiety? Why has this musician with the impeccable threads and barnet to match had such a profound effect on my life? I guess my story is one that has been replicated from time immemorial by those who have never forgotten their formative musical influences. It’s why bands of that ’80s era such as The Specials and Madness still retain such a special bond to their audience forged three decades ago.

And it’s no different for me. The Jam were my first love and my very first gig. It was September 24, 1982. I was 13 years old, fast approaching my 14th birthday, and was being taken to the concert as an early present courtesy of my aforementioned sister – Nicky and her boyfriend, Stuart. I had unsuccessfully attempted to see The Jam two years earlier when they played Sophia Gardens in Cardiff. As a fresh-faced 11-year-old I was laughed out of Virgin Records, then on Duke Street in the city centre, when I tried to get a ticket for the show. Save for a stick-on beard and an emergency voice breakage, who was I kidding.

To cut a long story and long journey through the back roads of Somerset short, my very first time was at the decidedly unsalubrious surrounds of the Shepton Mallet Show Pavilion. It was a venue that by day doubled up as a cattle market and by night put on live bands. Luckily, the smell of the building didn’t last long in the memory – but one of the greatest nights of my life did.

Bedecked in purple two-tone sta-press trousers and a black and white Prince of Wales check button-down Ben Sherman shirt topped off with obligatory parka, I believed I was the epitome of cool rather than what I actually was, an eye-boggling car crash of badly co-ordinated colour choices.

I’ve still got the Solid Bond In Your Heart tour T-shirt that I bought that night and if I eat just lettuce for several years, I might yet fit into it once again. My youthful mind’s eye is littered with these sorts of epochal landmarks that have Paul Weller’s immense influence stamped all over them.

I also vividly remember the day The Jam announced they were to split and I fought back tears as I trudged my way to high school after reading those earth-shattering headlines in my copy of Record Mirror.

In the pre-internet age, there was no mass messageboard rumour-mongering, so no inkling of the devastating news that tumbled forth from the music mag’s pages that fateful morning of October 28, 1982.

It was ironic that a music paper had dealt me such a hammer blow. It was after all The Jam’s music that would propel me to write my own mod fanzines, firing my imagination and setting me on the road to journalistic enlightenment. These most do-it-yourself of DIY publications hit a highpoint in the late ’70s and early ’80s. And I was no different, having my own stab via the medium of Pritt Stick and a mate’s mum’s office photocopier.

My laughably stitched together One Way World fanzine (named after a song by mod outfit Secret Affair) was strictly second division compared to some of the glossily professional Premier League ventures that served as the pinnacle of amateur publishing.

Nevertheless, little did I realise that these formative foundations would decades later lead me to stand outside the stage door of the Cardiff International Arena on an impressively arctic, sub-zero Saturday evening in November, waiting for this long sought after rendezvous.

The air was sharp and icy, Wales had surprised no one by losing to the All Blacks at the Millennium Stadium and Cardiff was awash with hordes of rugby fans, attempting to numb the cold by drinking to excess. It was a surreal evening in every sense of the word and it was about to get even weirder.

Accompanied by Weller’s affable tour manager Bill Wheeler, I was ushered into the inner sanctum of the CIA’s backstage area past two burly security guards and into one of the arena’s many dressing rooms. Despite spending that afternoon rewriting the questions I would put to the modernist icon and whiling away the rest in nervous anticipation, something surprising happened.
At that precise moment I felt totally relaxed; trapped in the eye of the storm there’s no turning back, so it was as if I accepted my fate and the professional adrenaline kicked in.

My WalesOnline colleague Andy Johnston was busily setting up the camera to film the interview and I started checking my hair, adjusting my John Smedley top to accommodate a mic and polishing my shoes on my trouser legs. Well, one doesn’t want to look scruffy in the presence of a fashion figurehead. Then he appeared before us and sat down.

“All right mate, how you doing?” he inquired in a chirpy London accent.

It’s often said that Paul Weller can be difficult in interviews, but thankfully and reassuringly for me, he was in an ebullient and playful mood.

Maybe that’s because 2010 has arguably been his best year yet. His latest album, Wake Up The Nation, certainly lived up to its title’s billing, sending critics into a frenzy over its contents – an experimental collection of songs that surged with an urgent vitality, while never losing their ear for melody or boundless spirit. It’s seen him reborn and reawakened, attracting the patronage of a generation of younger performers, while affording him ultimate cool kudos – making the shortlist for the Mercury Music Prize.

The lines of nearly 35 years in the rock ’n’ roll business are etched on the 52-year-old’s face, but he looks fit, healthy and, as always, impeccably turned out – when I met him, he was wearing a black top, cardigan and cords.

His crowning glory, his hair, was a thing of wonder. But as it’s rude to stare, I decided that it was best to get the questions rolling. My line of enquiry centred around just what it’s like to be Paul Weller. He occupies a unique place in British rock ’n’ roll history. He’s a musician who has reinvented himself through The Jam, his fanbase polarising ’80s outfit The Style Council and latterly for 20 years as a hugely successful solo artist.

As the former voice of a generation and now as the music press’s anointed Modfather, he perhaps means more in seismic shift terms to music fans than any other British artiste since The Beatles first bestrode the rock ’n’ roll landscape.

I put it to him that he means an awful lot to an awful lot of people – citing the effect he has had on my life an ample example.

He, of course, had no idea of what this moment meant to me, but then he’s had a lifetime of similar meetings with fans who have waxed lyrical with Weller eulogies, citing him as a mod god and a musical icon.

“Well I never get tired of hearing it,” he said, a big smile breaking across his face.

“But seriously though, I don’t sit around and think about those things, I don’t think about myself in those terms.

“There’s loads of people who I’ve met over the course of time who have told me tales of when they were 12, 13 coming to see The Jam and meeting us backstage, or outside a gig or talking to my old man (Paul’s late father and manager John Weller) and telling little stories.

“I’m more kind of touched by that really.

“And also just how much it meant to people and meant to people’s lives.

“I think it’s really brilliant you know, it doesn’t swell my head it just makes me feel privileged and proud to be part of this thing.”

I wondered if Paul ever thought about the sort of imprint his huge canon of work would leave in terms of its legacy.

“I’d like to think I’ve left something in the world,” he mused with inordinate modesty.

“Without in any way trying to be morbid, life is very short and I’d like to think I’d leave some body of work that would inspire other musicians long after I’ve gone.”

I think that’s a given especially since 2010 has been the finest of vintages for the musician.

“Yeah, it’s been a good year and the biggest highlight was that people liked the record,” he told me.

“We thought we were taking a bit of a chance because sonically it’s a little out there, but generally speaking people liked it and it got great reviews for whatever they’re worth.”

Given his stylistic influence on the sartorial choices of a million middle-aged gentlemen, I ruminated over the extent of his fashion obsession.

In public he’s always the epitome of cool.

But I wondered if, in the privacy of his own boudoir, he ever lets the stylish image slip and slob around in his elasticated waistband trousers.

“No, not quite,” he laughed, “but neither do I sit there in a three-piece suit and I certainly don’t go down the shop in my trackies.

“That’s just not on man!”

As Bill Wheeler signalled the allotted 15 minutes was up, our chat ended on this humorous high and frankly, I was buzzing. We had just enough time to grab a picture (although I’m working I’m still a fan so you’ll forgive me the non-professional concession).

Stood there with Weller’s arm round me as Andy fired off the flash, I felt elated.

It was as much out of an enormous sense of relief that I didn’t really embarrass myself as it was that I had finally met the great man himself.

Impromptu photo session over, Weller turned on his desert boots, shook our hands once more and with a cheery “nice one lads” headed off for a pre-show pow wow with his band.

Don’t ever meet your heroes they tell you. How wrong could they be.

Paul Weller In Liverpool!

2010-12-10T22:27:00.000Z

From The Liverpool Echo
Dec 9 2010
Words by Jade Wright

MUSIC legends don't get much more iconic than the modfather.

So, to hear Paul Weller pay tribute to his own hero John Lennon with two surprise cover versions was a special moment indeed.

Kicking off with Love and Come Together beneath a 20 foot projection of John, he belted out every line, filling it with meaning.

From there it was straight into modern day Weller with Wake Up the Nation, the title track from his new album. Often when an artist offers newer tracks, older fans tend to switch off: It’s the perfect time to go to the bar.

But this last album was just so good that at times it was hard to tell the new songs from his older material.

Songs like Andromeda, Fast Car/Slow Traffic and Aim High (which could have come straight from the Style Council Days), stand on their own merits, and to hear them live was a real treat.

Trees, the beautifully odd song in five parts, written for Paul’s late father, was an unexpected favourite too, swinging wildly from blues to nostalgic ballad in the blink of an eye.

But that’s Weller’s gift – his imagination is always in overdrive, which means that he’s always been one step ahead of the pack.

Understandably, the biggest cheers came for the most familiar tunes – a stomping version of Eton Rifles, number one single Start, the Style Council hit Shout to the Top and the couples' favourite You Do Something To Me – all had the crowd singing along. On the Jam tunes they jumped and punched the air, filled with joy by those 33 year old tunes.

Whether wielding his low slung Fender Telecaster, tinkling the ivories or whacking a tambourine, he’s propelled by youthful energy from one song to the next. Dressed in a stripy long sleeved T shirt and jeans, he remains the epitome of effortless style.

Paul made special mention of Scouse drummer Steve Pilgrim, who played a belting solo on One Bright Star from last but one album, 22 Dreams.

Wrapping up a packed set with an encore of Butterfly Collectors, Art School and From the Floorboads Up, the modfather played with the reassuring air of a man with nothing left to prove. And the crowd loved him for it.

Courtesy Of Glenn W.!

Paul Weller In Glasgow!

2010-12-10T22:06:00.000Z

Gig review: Paul Weller

Published Date: 07 December 2010
By DAVID POLLOCK
PAUL WELLER

SECC, GLASGOW

***
Many of we critics have written Paul Weller off over the years, only to be faced with the prospect of eating our words at some point. Although the Modfather's recent creative lull was a decade-long one, seeing him ply the cocky Alpha-Mod strut and paADVERTISEMENT

storal armchair nostalgia of his Britpop era solo peak to ever-diminishing returns, this year's Mercury-nominated tenth solo album, Wake Up the Nation, was a return to form.
As is so often the case with the former Jam and Style Council frontman, he stages a doubter-silencing comeback entirely on his own terms. The material from the new album showcased here – including its strident title track, the packed-full Trees (a song "in five movements", Weller says, from loudhailer-vocal psych-rock to tender piano balladry) and the spaced-out psychedelia of Andromeda – do exactly what he's been doing for a while now, but with more steely clarity of purpose.

It's not all successful, with the brisk rocker Fast Car / Slow Traffic getting lost amidst the eye of scaffolding and video screens surrounding Weller and his band, and Pieces of a Dream sounding like a vain attempt to recreate the swamp-blues of Dr John.

Yet in this context, these diverse and inventive efforts weren't even the main event. There was energy and excitement to the Style Council's Shout to the Top and the Jam's Start! and Art School, a still-fresh political edge to the latter band's Eton Rifles and That's Entertainment (although Pretty Green is shamed by some truly terrible lyrics), and reminders of the last time Weller could truly do no wrong in Into Tomorrow and The Changingman.

From Living.Scotsman.com

Paul Weller In Manchester!

2010-12-10T22:00:00.002Z

Courtesy Of vegas rhyll ! Cheers!!

Paul Weller teamed up with The Coral's frontman James Skelly for three songs during the Modfather's show at the MEN Arena in Manchester last night (December 3).

The pair performed two covers - The Beatles classic 'Ticket To Ride' and Manfred Mann's 1966 UK Number One hit 'Pretty Flamingo' - towards the end of a mammoth set.

They also played The Coral's hit single 'Dreaming Of You', footage of which you can watch below.

"It was an honour to play with Paul Weller tonight," Skelly said. "He's one of the greatest British songwriters of all time, an absolute legend."

The show also saw Weller joined by Primal Scream's Mani on tambourine on a number of tracks.

Paul Weller played:

'Moonshine'

'From The Floorboards Up'

'Strange Town'

'7&3 Is The Strikers Name'

'Dangerous Age'

'Sea Spray'

'Into Tomorrow'

'Aim High'

'Up The Dosage'

'Shout To The Top!'

'No Tears To Cry'

'Trees'

'You Do Something To Me'

'Pieces Of A Dream'

'Andromeda'

'Pretty Green'

'Start!'

'Wake Up The Nation'

'Fast Car/Slow Traffic'

'Echoes Round The Sun'

'Wild Wood'

'Broken Stones'

'Ticket To Ride'

'Pretty Flamingo'

'Dreaming Of You'

'Art School'

'Come On/Let's Go'

'The Changingman'

Paul Weller Radio Interview With Matt Pinfield In NYC!

2010-11-30T22:59:00.000Z

Paul Weller Interview With Matt Pinfield Of 101.9 RXP.

Paul Weller Wins UNCUT Music Award!

2010-11-30T17:12:00.000Z

Tuesday 30^th November 2010

PAUL WELLER’S WAKE UP THE NATION WINS

UNCUT MUSIC AWARD 2010

Uncut magazine today announces Paul Weller’s Wake Up The Nation album winner of the Uncut Music Award 2010.

Wake Up The Nation was chosen by judges from a long list of 25 albums, and then a shortlist of eight, as the most exciting, inspirational and rewarding album of the last 12 months.

Chaired by Uncut editor Allan Jones, the 10-strong judging panel included Hayden Thorpe, frontman of one of our favourite new British bands of recent years, Wild Beasts; eminent broadcasters Bob Harris, Danny Kelly and Christian O’Connell; Mark Cooper, BBC’s creative head of music entertainment; and Tony Wadsworth, chair of the BPI.

Robin Pecknold of Fleet Foxes (2008 winner) helped choose his successor, joining the judging panel this year alongside one of Britain’s finest guitarists and core member of Roxy Music, Phil Manzanera, and one of our most notable songwriters, Chris Difford of Squeeze.

“Thank you,” responded Weller, on tour in America when he heard the news. “I’m well surprised to get this award. Pleasantly surprised. A lot of the credit goes to Simon Dine (producer and co-writer on the album). The album came from him, really. He had these very rough backing track ideas, which he sent me. Once I heard them, I got excited too. I could see a whole new sound emerging out of them.”

And in an exclusive interview with Uncut, he explains: “If there’s one thing about getting older, it makes you realise how much you’ve got to get stuck in and do as much work as you can. You know, some people get to a certain age and feel they’re defined; this is who they are, and this is what they think. And it hasn’t got to be like that.

“There’s always more to learn. There’s always something else out there.”

The judges faced a tough task in choosing a winner from the list, which saw Wake Up The Nation face competition from Plastic Beach by Gorillaz (which was awarded second place) and Have One On Me by Joanna Newsom (third place) among others.

Allan Jones says: “At one point during the final judging session for the 2010 Uncut Music Award, four of the eight albums on our shortlist were in heated competition for this year's prize. Any one of them would have been an admirable choice. But the eventual winner, after an epic discussion, was an album that united both long-term fans among the judges and others of us who had previously been more sceptical. So congratulations to Paul Weller, whose brilliant Wake Up The Nation was the sound of a great artist in the form of his life, absolutely aflame with ideas.”

A full exclusive interview with winner Paul Weller appears in the new issue of Uncut, on sale today. And the full conversation amongst the judges will appear on www.uncut.co.uk over the next two weeks.

About the Uncut Music Award
Now in its third year, the Uncut Music Award is a quest to find the most inspiring and rewarding album of the past 12 months. The artists’ nationality, age and sales figures are completely irrelevant as a judging panel of industry figures and artists come together to decide on the winner.
The Uncut Music Award 2010 shortlist in full:

Arcade Fire – Suburbs
Beach House - Teen Dream
The Coral: Butterfly House
Deer Tick - The Black Dirt Sessions
The Gaslight Anthem - American Slang
Gorillaz - Plastic Beach
Joanna Newsom - Have One On Me
Paul Weller - Wake Up The Nation

More judges’ comments:
Christian O’Connell: “Paul Weller is such a deserved winner, because he’s still pushing the envelope in terms of his talent and his creativity. He’s not afraid to explore unknown areas and collaborate with new artists, rather than rest on his back catalogue and laurels. This album is rich in surprises and quality. Fantastic stuff.”

Chris Difford: “Paul is a true original; both in terms of song writing and production, and this might just be the best record he’s ever made. He never follows trends; he just listens to his own voice. I think the relationship between him his father was the catalyst for this album; I think his dad’s passing has made him become more aware of his own vulnerability, and it’s manifested itself in some extraordinary songs.”

Bob Harris: “He’s an artist of such stature. He never stands still; he’s always moving forward and trying new things. There’s a body-of-work factor that comes in to play with someone who’s been around so long, and I believe this is one of the best albums of his career. It’s really heartfelt; it’s sonically very interesting and evokes so many earlier eras of music, especially the 60s, but without being stuck in the past. He’s his own man, he never compromises.”

Paul Weller In Bournmouth!

2010-11-30T17:05:00.000Z

Paul Weller - Windsor Hall, BIC
10:23am Monday 29th November 2010
By Nick Churchill

THERE are plenty of great performers and a fair few can still cut the mustard deep into middle age, but how many are making music every bit as vital and exciting – perhaps even more so – as they did as teenagers?

Paul Weller is one such. He’s been up and down more times than a window cleaner’s chamois – sometimes hitting a sweet spot, other times missing by a mile, but always reaching just beyond his grasp.

He’s very definitely on an up at the moment. His last two albums, the sprawling 22 Dreams and this year’s pared-down Wake Up the Nation, have found him exercising his passion for a sometimes dizzying range of music.

Sunday night’s set drew on every stage of his career, including Art School from The Jam’s 1977 debut album, The Style Council’s Shout to the Top, an edgy trip hop reading of Wild Wood and a brand new song, That Dangerous Age, which channels The Who’s I Can’t Explain.

But the bulk of the two-hour show comes from his most recent output and, helped by a crisp sound mix, finds room for a Doors-ian excursion on Pieces of a Dream, audacious five-part song suite Trees, the rootsy Sea Spray, the dense psychedelia of 7&3 Is the Striker’s Name and Aim High’s invocation of the spirit of Curtis Mayfield.

Such musical plurality is the result of Weller’s open-hearted pursuit of modernist principles and is vindicated as the initially frosty audience warms to Jam gems like Strange Town, Start! and Pretty Green, but reserves equal enthusiasm for more recent hits No Tears To Cry and Come On/Let’s Go.

A barnstorming Town Called Malice sends us out into the cold night, but get this – what comes next could be even more exciting!

Paul Weller In Brighton!

2010-11-30T16:58:00.001Z

Images Courtesy Of Carl S. aka scotty94!

Cheers!

Paul Weller In Cardiff!

2010-11-30T16:44:00.000Z

Music Review: Paul Weller, Cardiff International Arena
Nov 29 2010 David Owens, South Wales Echo

EVEN by his lofty standards 2010 has been a spectacular year for Paul Weller.

Wake Up The Nation lived up to the rallying cry of its title by doing just that - causing mighty ripples in the music buying populace. Widely revered as his best album for a decade by critics and fans alike it propelled him to the cool climes of a Mercury Music prize award nomination and the curious inquisition of a younger audience.

Right now the ever stylish 52-year-old modernist icon is at the height of his powers, mining a rich seam of creative inspiration. It’s a midas touch that has translated to his live shows.

There’s always a joyful sense of communion about a Weller gathering and his thousands of devoted acolytes turned this worshipful service into an occasion that transcended a normal gig. This was something special.

Opening up with the propulsive joys of Moonshine he then hurtled into the staccato strut of From The Floorboards Up before hitting his stride with 22 Dreams, Woodcutter’s Son and Eton Rifles, sending the middle-aged mods who bellowed out its stirring chorus into raptures.

As an opening salvo it was a potent statement of intent – a strident purpose that he maintained throughout an expansive career-tracing set.

On stage for close to two hours, highlights were many. Trees was a breathtaking sonic assault – innovative experimentation without the detriment of melody , No Tears To Cry illuminated the deliciously rich tones of Weller’s soulful voice, while the resurrection after 33 years of Art School dusted down from The Jam’s debut album was a thrilling surprise.

We’re treated to two encores and seven songs; Broken Stones and You Do Something To Me are especially rapturously received - while the gig spirals to a climax with the imperious blast of The Changingman, underlining just how much conviction and soul Weller puts into his rock n roll.

Right now, he’s a live performer without equal.

Paul Weller In Ireland!

2010-11-30T16:29:00.001Z

Paul Weller – The Olympia, Dublin
By Philip Cummins on Monday, 22 November 2010
From The State

Swaggering on stage to a Northern Soul compilation, Paul Weller and his Merry Men open with ‘Aim High’, an energetic and soulful ballad from his latest record, Wake Up the Nation, which, along with it’s predecessor 22 Dreams, is universally considered a return to form for The Modfather. His streamlined band effortlessly injects so much rhythm and soul into the track without overloading on backup singers and unnecessary percussionists that it’s hard to believe that there are only five musicians on stage. From ‘Aim High’ right through to live staples ‘The Changing Man’, The Jam’s ‘That’s Entertainment’ and The Style Council’s ‘Shout to the Top!’ is a groove of songs that are ferocious and exhilarating, rendering Weller and his band as a force of nature. Weller moves from guitar to piano for the Dr. John-esque ‘Trees’ and the wary, late night feel of ‘Invisible’, which brings the tempo right down as the band take a breather.

What then follows is a cluster of songs that are a revision of Weller’s punk roots. Recent additions to his songbook, ‘Fast Car/Slow Traffic’, the state of the nation address of ‘Wake Up the Nation’ and ‘Come On, Let’s Go!’ fuse effectively with The Jam’s ‘Start!’ and, most notably, ‘Pretty Green’, The Jam’s angry, vitriolic riposte against consumerism, which more than strikes a chord with this Dublin audience.

An encore of the soulful, lilting ‘Broken Stones’, from 1995’s Stanley Road and the jazzy and chaotic ‘Pieces of a Dream’ offer respite and have the crowd swaying to Weller’s gentle and fluid playing on mellotron and piano, respectively. Weller returns to guitar for The Jam’s ‘Art School’, followed by an incredible version of The Jam’s ‘Scrape Away’. Its post-punk darkness and intensity feels like a summary of the encore. During the 2nd Encore, the archetypal solo-Weller song ‘Peacock Suit’ is followed by a sprawling and heady ‘Whirpool’s End’, a song which encapsulates Weller’s at times gruff, at times angry, at times soulful voice as the band harmonize, take advantage of the space to jam, tune in, tune out and elevate the show to unprecedented heights with a seemingly endless crescendo.

What becomes most clear, tonight, is what Weller does so well live: he shows you that anything he’s written recently can sit beside his previous work with The Jam and The Style Council, in terms of style and, sometimes, in terms of quality. Recent songs are meticulously placed against his wealth of previous material to reflect each other. Not only does he show you that, of late, he has written jazz-structured pop not unlike The Style Council, but that he is as angry on Wake Up the Nation as he was on In the City, Sound Effects or Setting Sons. Weller’s most impressive live achievement (topped only by Neil Young) is his ability to start working with the conventions of a song’s verse-chorus-verse structure, only to abandon those conventions mid-flow, disappear into a jam, loosen up the feel of the song, add interesting dimensions that may not be there on record, only to return full circle to the song as if nothing happened. That, unquestionably, is Paul Weller’s 23rd Dream.

Set List

Aim High

Into Tomorrow

Changing Man

Porcelain Gods

Moonshine

Andromeda

All I Wanna Do (is be with you)

That’s Entertainment

No Tears to Cry

Shout to the Top!

Trees

22 Dreams

Invisible

Empty Ring

Fast Car/Slow Traffic

Pretty Green

STaRt!

Wake Up the Nation

Come On, Let’s Go

Encore

Broken Stones

Pieces of a Dream

Art School

Scrape Away

2nd Encore

Peacock Suit

Whirpool’s End

Images By: Kieran Frost

--------------------------------------------------------------------------------------------------------------------

Set List & Image From Svenja!

Paul Weller On The Radio Wednesday November 17!

2010-11-17T00:24:00.000Z

Listen up Weller fans, Paul will be taking over the airwaves tomorrow with two radio interviews.

The first will be broadcast on XFM's Breakfast show between 6:30-10am via 104.9FM in London plus on digital radio and online via http://www.xfm.co.uk

The second interview will be aired on Absolute Radio's drivetime show between 7-8pm, you can tune into that via http://www.absoluteradio.co.uk or on digital.

Paul Weller Duet With Souad Massi - "Let Me Be In Peace"

2010-11-15T21:04:00.001Z

Short Feature In The Irish Independent Ahead Of This Week's Dublin Concerts!

2010-11-15T11:21:00.000Z

Raw Honesty From Man They Call Modfather
Paul Weller still has a fire burning in his belly, decades after his ballads woke up two nations, says Barry Egan
Sunday November 14, 2010

'PUT an end to all your doubts," he sings. "Has my fire really gone out?"

Profligate with the raw honesty, council estate balladeer Paul Weller still has a fire burning in his 52-year-old belly. At times he comes across like the gruff Victor Meldrew of his era -- with one Gucci brogue in the grave. But there's a universality to the Modfather's lyrics that resonates with just about everyone over 18 who realises Jedward are perhaps not the future. Weller has the real 'x factor'. In all in his four decades writing great moments of music, he has never erected a protective screen between his emotions and the listener.

Songs like Town Called Malice, That's Entertainment, My Ever Changing Moods, A Man of Great Promise, Changing Man, You Do Something to Me, Pebbles on a Beach , Out of the Sinking and Has My Fire Really Gone Out? mark Weller down as one of the greatest English songwriters since John Lennon, Ray Davies or Pete Townshend. He has inspired Blur, Oasis, the Arctic Monkeys, Amy Winehouse and a million other young bands with dodgy, ironed-straight coiffures.

As a reporter in The Observer wrote recently: "Everyone knows Weller. He's a pop music constant, with his undying stylishness, his unfading anger, his never-ending devotion to what he deems "proper" music. And yet his career has seen him flicker in and out of favour, mostly through his own wilful refusal to dig the same musical furrow." This is the young Surrey lad, lest we forget, who broke up Britain's most popular band The Jam to form a jazz-soul combo called The Style Council.

We still love the fact that all those years on from when he wrote Town Called Malice he has never lost his anger. He lashed David Cameron when he said he was a huge fan of Eton Rifles by Weller's old band The Jam. He turned down a CBE and refused to let New Labour use The Changing Man as a campaign tune in 1997. His new album Wake Up the Nation is his most intriguing record in years -- almost as intriguing and innovative as its predecessor, 22 Dreams, released in 2008.

Wake Up the Nation has Weller, like King Canute, trying to hold back the wave of modernity. He lashes the Facebook nations, instructing everyone to get their face off Facebook and get on to the streets. He is a god to many and as such I am surprised that he is playing only five nights at the Olympia Theatre in Dublin this week.

From The Sunday Independent

Paul Weller Session For WNYC In New York City!

2010-11-13T21:13:00.000Z

British rock icon Paul Weller is known for fronting the influential bands The Jam and The Style Council, as well as a decades-long solo career. He recently released a new album "Wake Up The Nation," a return to the short, energetic style of his early years. He joins us live in the studio.

Session Info:
01. Intro
02. Aim High
03. Interview
04. Andromeda
05. Interview
06. All On Misty Morning
07. Outro

Paul Weller Designed MINI To Be Auctioned For Charity!

2010-11-12T21:24:00.000Z

MINI has teamed-up with mod rock legend Paul Weller to give birth to a one off vehicle that will be auctioned at a live event, with all the proceeds set to go to charity.

The project follows Weller’s headline performance at MINI’s 50th Birthday party at Silverstone in 2009.

We are talking about a unique MINI Cooper, which was designed by the artist, built in Oxford, and hand-painted by MINI specialists. The car will be auctioned for one month from November 11, in order to raise money for charities Nordoff Robins and War Child.

The car will be showcased in MINI’s flagship showroom on Park Lane, London for the duration of the auction. You can place your bids here.

“Both MINI and Paul Weller are synonymous with the quintessential British mod scene. That’s why we were the ideal match to create this unique car,” said MINI UK’s Director, Jochen Goller.

Walter’s vision, which comes with pink and brown stripes across the vehicle’s body and also includes a silver line running up the bonnet and over the roof, was inspired by the colors in a Ben Sherman shirt he designed for the brand in the past.

“I've always loved and driven MINIs so when I was given the opportunity to design a bespoke Mini Cooper I wanted to create something that reflected the mood and colours associated with the Mod era, which was also the classic Mini’s hey day. I’d already expressed these colours in a shirt I designed for Ben Sherman a few years ago, so it made sense to me to continue the theme using a MINI Cooper as a palate,” said Weller.

Even More Paul Weller In New York City!

2010-11-12T21:19:00.000Z

There will be a special in NME next week (Nov 17) documenting 48 hours in New York City with Paul Weller.

Got a bunch of pics in the past few days.

HUGE thanks to everyone sending them in to share with our readers!

Images Courtesy Of Ginny!

"Thank you Paul for taking time to say hi!" from Tyler

and Ginny

Images Courtesy Of Ryan aka changingman72!

Paul Weller Set List From The Best Buy Theater In NYC!

2010-11-09T14:50:00.000Z

Image From Tessy Schulz

Set List Provided By Ryan aka Changingman 72!

Cheers!!!

Peacock Suit

7 & 3 Is the Striker's Name

Moonshine

From The Floorboards Up

Pretty Green

22 Dreams

Andromeda

Aim High

No Tears To Cry

Up the Dosage

Shout to the Top!

Trees

Empty Ring

Let It Be Me

One Bright Star

Pieces of a Dream

Strange Town

Woodcutter's Son

That Dangerous Age

STaRt!

Fast Car/Slow Traffic

Echoes Round the Sun

Wild Wood

- - -

Broken Stones

Wake Up The Nation

Art School

Come On/Let's Go

- - -

The Changingman

Porcelain Gods

That's Entertainment

Paul Weller At The Apollo! By: James From The Freethinking Movement

2010-11-09T14:13:00.000Z

A Creative Peak?
By: James Poole
TheFreeThinkingMovement

“Paul Weller was at his most interesting and rewarding with the Style Council, wasn’t he?”

So wrote a friend of mine on his facebook wall a few weeks back. It’s a statement which would probably have many a Weller fan up in arms; demanding that the entire period that Weller spent flanked by Mick Talbot, D. C. Lee & Steve White was a dark time, and should be erased from memory. This was a time of Red Wedge, of videos containing Paul & Mick all but relaxing the gentleman’s way together while punting, of (would you believe it?) chart-friendly pop.

But, let’s be honest, my mate has a point. This was also the time of Weller embracing soul, of Weller dipping his toe into new genres (Hip-hop! House!), and of chart-friendly pop which still stands up today. ‘Speak Like A Child’ should win the argument alone.

Yes, The Style Council were bang on. As I write this post, I’m reacquainting myself with some of the tracks I’ve just not taken the time to listen to in years: the funk of ‘Fairy Tales’ from ‘The Cost Of Loving’, the minimalist sweep of ‘A Stones Throw Away’ from ‘Our Favourite Shop’, the laid-back jazz of ‘Changing Of The Guard’ from ‘Confessions of a Pop Group’. Throwaway album tracks, or signs of a band that were brimming with ideas? I know where I stand on this.

There were times when the innovation mis-fired (the aforementioned ‘hip-hop’ experiment was less than effective, in my opinion – and as for ‘A Gospel’ from ‘Café Bleu’, the less said, the better). But – I’ll give you three arguments as to why I’d still embrace the entire catalogue:

1) The share of mis-fires is relatively low. Six albums, and only a handful of tunes that I would hold up as being rough around the edges? Not a bad hit rate, that.

2) Weller was tyring – this wasn’t lazy music. More often than not, the mis-fire is purely as a result of creative juices clearly operating at full-tilt. All that was missing was a filter – and this was only a few times.

3) It’s Weller. He earned the right to do whatever the hell he wanted to.

So this final point really hits to the centre of the point that I made on my mate’s facebook wall. Afer careful consideration, the full weight of my argument was: ‘Weller could fart in a jar, and I’d be happy’. I know I am unable to really apply a critical eye to Weller. He’s just good.

The conviction I hold for my ability to enjoy the sound of Weller farting in a jar was put to the test this weekend. It was put to the test by the piss-poor sound system of ‘The World Famous’ Apollo Theatre in New York. I’m not the person to provide a balanced view of the concert. I will say that it was great. Maybe not the heights of the performances he was cranking out around the time of ‘Stanley Road’ – but when Weller kicks off, you just know that there’s not another concert taking place right at that moment where you’d rather be. For a more subjective opinion, I’ll relay the thoughts of a friend who came to the concert with me. Now, I need to put into context that he’s not a Weller fan (I even think that he may have said that Weller was ‘like Phil Collins’ – though I may be doing my mate a disservice my mis-quoting him completely). He came to the concert largely to experience ‘The World Famous’ Apollo Theatre. He loved the show. Genuinely. It’s about as big a positive vote as you can get: a non-Weller fan – someone who stated bemusement at the levels to which people hold Weller aloft with God-like status – liked it. He liked it a lot.

With a set spanning his entire career, it was also a great opportunity to weigh up the merits the facebook missive which kicked this post off. We had ‘Pretty Green’ and ‘Start!’ from The Jam, ‘Shout To The Top’ from The Style Council, ‘Into Tomorrow’ from early solo Weller (The Paul Weller Movement, if you will), and ‘Aim High’ kicking off the proceedings from ‘Wake Up The Nation’. We even had a nod to the venue, with Weller knocking out an outstanding rendition of ‘How Sweet It Is’ in honour of Marvin Gaye. It all went down well. Even the lesser-known tracks were well received. But then, a packed audience of Weller enthusiasts are hardly going to be the most challenging to win over. In among all of this, for me there was one clear highlight.

“Paul Weller was at his most interesting and rewarding with the Style Council, wasn’t he?”

Yes. ‘Shout To The Top’ was bloody marvelous.

Fan Pics Of Paul Weller At The Wiltern In LA!

2010-11-09T11:24:00.000Z

A couple of images sent in by Kerry Russell!

Cheers!!!

30 Years On: The Jam's Sound Affects Revisited!

2010-11-09T11:17:00.000Z

30 Years On: The Jam's Sound Affects Revisited
Val Siebert , November 8th, 2010 09:59
From The Quietus

The Jam released Sound Affects three decades ago. Val Siebert assesses how it has weathered the intervening years.

Paul Weller was barely 22 when he started recording Sound Affects, his fifth album in just over 3 years. He was reading histories of Camelot alongside the romanticism of Percy Bysshe Shelley and William Blake, obsessing over The Beatles’ Revolver, and delving further into his disillusionment with the political and social climate that had prevailed in England at the end of the 1970s. During the same time, Weller apparently had a ‘thing’ for electricity pylons.

So, in short, the writer’s perceived influences on The Jam’s 1980 album included Arthur and Guinevere, the Mask of Anarchy, the Fabs, and wire transmission towers. Although all that sounds like a crock, Sound Affects is well and truly saturated with this murky mixture, as well as with the additional absorption of contemporary styles, 60s formulae and steadfast motifs that would mark the majority of Weller’s career.

Sound Affects is Paul Weller’s favourite Jam album. This could be because it sounds “fresh” as he says, or it could be because it’s a self-contained piece of Weller himself – at least the bits he would respect and revisit. You have trademark deft social commentary ('Man In The Corner Shop', 'That’s Entertainment'), battles with doubt (Monday'), laments of communication breakdown ('Start!') and spitting political rage ('Set The House Ablaze', 'Scrape Away'). He works in his literary flair with a Shelley quote in the liner notes, the cover is a pop art collection of pictures that can each be related to an album track (not far from the artwork on 1995’s Stanley Road), and there is a smattering of 60s Beatles/Kinks/Small Faces influence about the whole thing.

As for this silly business about electricity pylons: you actually can hear a stark, steely quality among the tracks that is very akin to that imagery – and is, as such, topically appropriate.

However, the same could probably be said of a number of new wave/post-punk groups that were around at the time and that Weller was very into, such as Joy Division and Gang Of Four. The production of the album on a whole takes hints from these contemporaries (in great contrast to the dense and textured previous record Setting Sons) and Rick Buckler’s drumming in particular is very of-the-time.

Weller has described the album, which was released 30-years-ago this month, as sounding like “a mixture between Revolver and Michael Jackson’s Off The Wall”, but as it so happens, little of this soul/funk influence seeps through clearly. As a matter of fact – and speaking strictly musically and not negatively – it’s arguably the least soulful Paul Weller record there is. Setting Sons would likely be up for the title if it weren’t for the casual inclusion of Vandella’s cover 'Heatwave' tacked on the end. But soul music, as a universal language, is probably the least offensive and least criticized form of pop. It does wade into political waters, but it’s never apocalyptic, aggressively confrontational and angry as tunes on this record are. Revolver, however, is a clear influence (at times too clear), but if I were to pick what it draws from the ether in place of Off The Wall, I would point to something more like Gang Of Four’s Entertainment along with Something Else by the Kinks and the Small Faces circa ‘67.

Even so, a more practical way of looking at the album would be rather to see it as a collection of post-punk takes on 60s beat group tunes; or, perhaps as a tug of war between where The Jam had been and where Weller wanted to push them. Either way Sound Affects is a record of fascinating and convoluted roots. Weller often toes the thin line between homage and theft, but manages to come out the other side of it virtually unscathed.

On that note, it’s probably best to start an appreciation of the album with the tune that both encapsulates Weller and that also most shamelessly shows off its roots.

'Start!' was almost not the first single off Sound Affects as Polydor were pushing for the safe, familiar and early-Jam-like 'Pretty Green', heated discussions ensued and the decision was left until the last moment – with sleeves for both possible singles sat waiting at the printers – but Weller subsequently prevailed. And, just as he’d suspected, the tune opened The Jam to new audiences and flew straight to the top of the charts. However, there can be no mention of The Jam’s second number one single without outlining the musical debt it owes to The Beatles’ George Harrison penned 'Taxman' (off Revolver, obviously). With identical opening bass line and punctuating guitar, the nick is undeniable. However, there was no action taken by George Harrison – an unsurprising fact when taking into account that, mere months after Sound Affects’ release, Harrison would be facing a final suit to determine damages in his subconscious theft of The Chiffons’ 'He’s So Fine'.

As for the inherent Weller-ness of the track, just check the 52-year-old’s latest, Wake Up The Nation, as it rails against the isolation of the computer age and the twisting of social context. Anyone that might criticize Weller for being a Luddite these days or may chock up his arguments for social contact over emails and texting to being an old technophobe need only look at 'Start!' to see that he was preaching the same concerns decades ago, before these advances in technology were even made.

Musically, 'Start!' also pushed The Jam in new directions (especially in hindsight looking at the horn-soaked follow-up, 'The Gift'), unlike 'Pretty Green' which wouldn’t be out of place on the group’s second record This Is The Modern World. Two other tracks off Sound Affects also retain a more early Jam sound. One of these is – and if any track takes a modicum of soul influence, it’s – 'But I’m Different Now'. A mash of souly-punk thrashing and a pinch of Revolver’s 'Doctor Robert', its style of power pop is a development of the feel of In The City’s 'I Got By In Time' and 'Non-Stop Dancing' as well as All Mod Cons’ 'It’s Too Bad'.

The third old school Jam track is the sprightly and sanguine 'Boy About Town', that sees Weller busying about Oxford Street and which is not unlike the ‘mod anthems’ of his earlier records. The title may have come from a London-based commuter mag at the time called Girl About Town, but could just have easily been swiped from the lyric of The Kinks’ 'Well Respected Man'. And Lo! We have the 60s nick number two after Revolver. And there is, indeed, a third.

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.

If you were to need any more proof of The Beatles, Small Faces and The Kinks incorporations (and while we’re at it, let’s throw in the backwards guitar at the start of 'Dream Time' a la 'I’m Only Sleeping'), I would mention the fact that it also follows the 60s formula of ‘raucous song first, downbeat song second’ with 'Pretty Green' coming before 'Monday'. This idea is well used among the 60s albums like Something Else ('David Watts' then 'Death Of A Clown'), Revolver ('Taxman' then 'Eleanor Rigby'), Help! (the title track then 'The Night Before'), even Pet Sounds ('Wouldn’t It Be Nice' then 'You Still Believe In Me') - the list can continue. Still unconvinced? Unlikely, but I’m not done. Then, all you need to do is pick up the new deluxe edition reissue of Sound Affects out this month, which includes 22 bonus tracks, and among them, many covers. Covers of whom, you ask? You guessed it! The Kinks ('Waterloo Sunset', 'Dead End Street'), The Beatles ('Rain', 'And Your Bird Can Sing') and The Small Faces ('Get Yourself Together').

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).

Besides these firm 60s roots, Sound Affects stands up superbly over many of its now-dated contemporaries. In fact, the opening stabs of guitar in 'Music For The Last Couple' (the only song here credited to all band members) is just waiting to be snapped up by one of these post-post-punk, new-new-wave groups like Chapel Club and the melody of Weller’s ode to human nature 'Man In The Corner Shop' was even used by The Strokes in 'You Only Live Once'.

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.

'Scrape Away' follows 'Set The House Ablaze' in motif – both songs would have been fitting on Setting Sons – and is a perfect example of the sharp, cold and steely imagery I mentioned earlier. A forceful bass line from Bruce Foxton is sawed by serrated guitar and Weller’s voice is decidedly discordant – very fitting in that I doubt there are many tuneful ways to effectively express lyrics such as: “Your twisted cynicism makes me feel sick/Your open disgust for ‘Idealistic naive’”. The toxic influence of politicians is a very common thread in Weller’s song-writing fabric, even though he forgot his own advice in joining in Labour tour Red Wedge during The Style Council days, he would revisit many of these convictions in solo years with songs like 'Savages'.

Now, back to this fantastic 30th anniversary reissue. There are quite a few things that make this worth picking up aside from the covers. The previously unreleased tracks include demos and alternate versions of the album tracks as well as two instrumentals, but the collection itself is more impressive than its collectability. There are two versions of the sublime b-side 'Liza Radley' as well as 'Pop Art Poem', a purely Weller number, all instruments played by the man, then sped-up, slowed down and thrown into a psychy jumble of whirs and bleeps and heavy breathing underneath a deadpan spoken word affair. A demo version of 'That’s Entertainment' brings a crisper vocal and a cheeky amendment to the lyrics (“cuddling a warm guy”) and the inclusion of the delicate 'No One In This World' shows that Weller’s balladeering could already have competed with the best of The Style Council’s like 'Ghosts Of Dachau'. It’s tracks like this that provide fleeting glimpses of what is to come, without relinquishing The Jam’s idiosyncrasies.

Pete Townshend once perceptively said of Weller: “I’ve never met an artist so terrified of appearing hypocritical." This behaviour is likely the result of the fallout from a statement by a very young Paul, fleetingly mentioning Tory sympathies - this would come back to bite, or rather gnaw, him for the rest of his career. Although I hate to give credence to a slightly more than bitter account on Weller, ex-pal Paolo Hewitt’s Changing Man claims that the Modfather is much more articulate of his feelings in song form than any other way, for better or worse. If this claim is legitimate, paired with Weller’s distaste of going back on his word, the fact that Sound Affects is his favourite of the period makes it his most personally defining of the period. It’s when everything that Weller wanted for himself came together and he apparently still sees it that way. And with the extraordinarily varied career that has followed 30-years on, that’s really saying something.

More Paul Weller In New York City!

2010-11-09T11:00:00.001Z

Paul w/NYC Radio DJ, Matt Pinfield

Paul Weller Is Stellar At Two NYC Gigs
By John Curley
From Goldmine

Paul Weller hit New York City this past weekend for two shows as part of his very brief U.S. tour. (The only other stop was in Los Angeles last week.) The Modfather’s Manhattan shows took place at Harlem’s legendary soul venue the Apollo Theater on Saturday, November 6th and the Best Buy Theater in Times Square on Sunday, November 7th. Judging from the accents that I heard at both shows, it appeared that many fans flew over from the UK for the NYC shows. Weller is on tour in support of his latest studio album, which is titled Wake Up The Nation. The album was nominated for the UK’s prestigious Mercury Prize earlier this year.

Weller is a big soul music aficionado, and he spoke at the Apollo gig about how many of his musical heroes had performed on the stage there. Soul music was the preferred music of the Mods, and Weller has long subscribed to the Mod way of life in both his music and his fashion sense. His amplifiers are decorated with the red, white, and blue Mod target symbol.
Weller’s excellent backing band includes his longtime collaborator Steve Cradock (who also plays with the UK band Ocean Colour Scene) on guitar as well as Andy Lewis on bass, Steve Pilgrim on drums, and Andy Crofts on keyboards. There was also a second keyboardist that performed on some of the songs.

Given the venue, most fans in attendance expected Weller to perform a few soul covers in his set. He only did one, a moving rendition of Marvin Gaye’s “How Sweet It Is (To Be Loved By You).” Apart from that, he played a regular set that featured the usual mix of songs from his 30-plus years in the music business by his old bands The Jam and The Style Council as well as his two decades as a solo artist. It’s really surprising, and more than a little disappointing, that he didn’t drop some of the more dour solo material from the set and add a few more soul and R&B covers. He covered “Heatwave” by Martha and the Vandellas as a member of The Jam. That would’ve been a nice choice over some of the solo material performed instead, like the unreleased (and unremarkable) “Paper Chase.” It was an opportunity lost, in my opinion.

The biggest reactions from the crowd were for the songs by The Jam. “Pretty Green,” “Start!,” and “Art School” all received thunderous cheers when they were performed. “Art School,” in particular, had the crowd up on its feet. It’s from The Jam’s 1977 debut album, In The City, and was performed by Weller and his band with every bit of the ferocity of the original recording. It was a thrilling thing to witness. Andy Crofts came out from behind the keyboards for the song, playing guitar and trading off on the song’s lead vocal with Weller. “Shout To The Top,” from Weller’s Style Council days also received a nice hand from the crowd.

The solo material that Weller did at the show was a mixed bag, from the incendiary “The Changingman” to the mellow “No Tears To Cry.” To his credit, Weller is not afraid to be experimental at an age (52) by which many of his contemporaries from the British punk/New Wave invasion of the second half of the 1970s have long since settled into comfortable mediocrity. And he’s still capable of writing Jam-style rockers, as the title track to Wake Up The Nation can attest.

The concert at the Apollo ended rather abruptly at exactly 11 p.m. after Weller performed “Porcelain God.” It was an odd way to end the show, not the uptempo number that the audience expected. There may have been an 11 p.m. curfew. Weller’s guitar tech walked onstage after “Porcelain God” had finished, whispered into Weller’s ear, and suddenly the show was over.

While Weller and his band gave their all during their two-hour set, their efforts were undermined by the worst sound that I have ever experienced at a concert. The sound mix was abysmal, and the volume was far too loud for a smallish venue like the Apollo. Quite a few people in the crowd were complaining about the volume. It really ruined what should have been a triumphant night for Weller.

The following night’s show, at the Best Buy Theater, was much more enjoyable. The show was loud, but the Best Buy Theater is a cavernous venue and it swallowed up the sound. The Best Buy show also featured a stronger set, opening with a storming version of “Peacock Suit” and including two additional very-well-received numbers from Weller’s time with The Jam, “Strange Town” and the show’s closer “That’s Entertainment.” The Best Buy show also featured an absolutely blistering version of “Woodcutter’s Son” that got a huge reaction from the crowd.

Weller performed for approximately two hours at both concerts and proved that he is still one of the best live acts around, despite having already passed the half century mark.

Opening both shows were the five-piece, London-based folk-rock act Erland and the Carnival. Their sound is somewhat reminiscent of the UK band The Coral. They were excellent, and are a band that is worth a listen. Their 30-minute opening sets got a big reaction from the crowds at both venues.

Paul Weller Review From Sunday's New York City Concert At The Best Buy Theater!

2010-11-08T22:26:00.000Z

Chad Batka for The New York Times

Singer Marked By A Sense Of History
By JON PARELES
From The New York Times

Even as a teenager leading a punk-rock band Paul Weller looked back. His 1970s band, the Jam, was openly fond of Mod-era British Invasion songwriting from a decade earlier. Since then Mr. Weller has maintained a long, steady career in Britain, where he’s fondly known as the Modfather. His concert on Sunday night at the Best Buy Theater was sold out; many audience members had British accents.

Mr. Weller’s music has broadened since the 1970s. He followed his revivalist instincts toward soul and disco with his 1980s band, the Style Council, and into a solo career since the 1990s that has had him delving into garage-rock, psychedelia, American-style roots-rock and wherever else his tastes led him. Those tastes veered away from what American radio wanted, perhaps because he was an Englishman trying styles already available from American musicians. But Mr. Weller’s 10 solo albums since 1992 have all reached the British top 10, and in 2009 he won the Brit Award, the British equivalent of the Grammy, as best male solo artist.

Mr. Weller’s two-hour set traced a long and coherent career, from the sarcastically righteous leader of the Jam to the more disillusioned but still scrappy songwriter behind his most recent album, “Wake Up the Nation” (Yep Roc). Lean and vigorous at 52, with a voice only slightly gruffer than it was in 1977, Mr. Weller wore a black T-shirt, black pants and black-and-white shoes as he led his tambourine-shaking five-man band through his own virtual tour of rock history, with all but one song — “Let It Be Me,” a 1960 hit for the Everly Brothers — written himself.

There were boogie-rockers like the piano-pounding “Moonshine” and “From the Floorboards Up”; garage-rock like “22 Dreams”; the guitar-scrubbing disco of Style Council’s “Shout to the Top”; the Beatles homages of the Jam’s “Start!” and “Strange Town”; “No Tears to Cry,” which recalled Phil Spector’s Righteous Brothers productions; and “One Black Star,” a song Mr. Weller described, correctly, as “a little psychedelic tango.” One song, “Trees,” riffled through five rock eras as it told a woman’s life story.

The songs didn’t always escape the shadows of their models. But they were connected by the fine-toothed rasp of Mr. Weller’s voice and by a particularly British pugnacity that runs through the lyrics: recognizing the inevitability of disappointment, vowing to persist anyway. It spanned the Jam’s bitter media critique, “That’s Entertainment,” and a new song, “That Dangerous Age,” about comfortable grown-ups longing for excitement. The grown-up Mr. Weller has his thrills: in the fourth decade of his career he’s still an unregenerate rocker.

Nominate Photographer Stefan Duerr For Best Vinyl Art 2010 Award!

2010-11-08T12:45:00.002Z

Photographer Stefan Duerr has designed art work and photographed a wide range of musicians such as Paul Weller, Ocean Colour Scene, Steve Cradock, The Vals, Marner Brown and The Moons. His design of Steve Cradock's solo debut, The Kundalini Target is eligible for the Best Art Vinyl 2010 Award!

Stefan is a very good friend of Paul Weller News and we would like to ask for our reader's support in helping Stefan win this award. In conjunction with industry experts, the award is also voted on by the public. So, please follow the instructions below and lend your support to Stefan and his craft. It will only take a few moments.

Go to: http://www.artvinyl.com/en/nominate/best_artvinyl_2010.html

Just enter Steve Cradock / The Kundalini Target in the first box,

and then vote for two other albums you like.

All three records on your list must be different, and you can only vote once.

Voting closes at midnight 12th December.

Stefan Duerr Photography

Stefan and Paul Weller News kindly thank you for your support!

Paul Weller At The Apollo Theater in New York City!

2010-11-08T11:52:00.004Z

Image By Lisa Coffman!

Cheers!!!

photo c2010 Ann Lawlor

Paul Weller Honors Soul Heroes at New York's Apollo Theater
by: Kenneth Partridge
From Spinner.com

As a longtime member of Britain's mod subculture, Paul Weller is well-versed in the transcendent powers of American soul music. Saturday night, the legendary English rocker made a pilgrimage to that genre's most sacred temple, the Apollo Theater, where he kicked off a two-night New York City run.

"So many of our heroes have played here," Weller said of the Harlem landmark. "We just hope we do it justice."

Backed by five young musicians with matching mod haircuts -- cropped on top with tufts of hair coming down over the ears -- Weller's performance covered his career from the '70s to the present. While the singer and guitarist focused on latter-day solo tunes, he also burned through three by the Jam, his beloved punk-era answer to The Who, and one, 'Shout to the Top,' by The Style Council, the slick, suave, soulful pop group he fronted throughout the '80s.

Weller also paid tribute to one of the countless legends to have graced the Apollo stage, offering his unique take on 'How Sweet It Is (To Be Loved By You)' -- the Motown classic originally recorded by Marvin Gaye. Seated at an electric piano, Weller played the song slow and slightly somber, changing its tone from celebratory to reflective, and doing his best to wrestle the tune back from James Taylor, whose soulless rendition remains an easy-listening staple.

Despite his love of '60s music and fashion, Weller isn't one to dwell on the past, as he proved by filling Saturday's two-hour set with material from his latest release, 'Wake Up the Nation' -- a diverse collection nominated earlier this year for Britain's prestigious Mercury Prize.

Weller opened the show with one of the disc's standouts, 'Aim High' -- a '70s-style soul burner replete with strings and wah-wah guitar. Later, he grooved through the psych-rock haze of 'Trees' and bashed out the punky 'Fast Car, Slow Traffic,' which could have easily fit in on the first Jam album, 'In the City.'

Anyone going to see Weller in 2010 is most likely a serious fan, and while the Jam tunes -- 'Pretty Green,' 'Start!' and 'Art School' -- proved most effective at catapulting people out of their seats, lesser known solo numbers such as 'Come On, Let's Go' -- a 2005 power-pop rewrite of the Undertones' punk gem 'Teenage Kicks' -- also had folks dancing in the aisles.

Based on the set list from his Los Angeles performance, Weller was expected to close with 'That's Entertainment,' which is one of the Jam's most enduring hits. Unfortunately, his second encore ran long and the Apollo's 11PM curfew brought the night to a premature, albeit memorable, end. That's showbiz.

Set-List

Courtesy of Glen Maganzini

1. Aim High

2. Into Tomorrow

3. 7 to 3 is the Striker’s Name

4. Pretty Green

5. From the Floorboards Up

6. All I Wanna Do (Is Be With You)

7. Sea Spray

8. Paper Chase

9. Up The Dosage

10. No Tears to Cry

11. Shout To The Top

12. Trees

13. How Sweet It Is (To Be Loved By You)

14. One Bright Star

15. Andromeda

16. Fast Car / Slow Traffic

17. STarRt!

18. Echoes on the Sun

19. Wild Wood

——Encore One——

20. Broken Stones

21. Pieces of a Dream

22. Wake up the Nation

23. Art School

24. Come On, Let’s Go

—-Encore Two—-

25. The Changingman

26. Porcelain Gods

Paul with fan, Geoffrey Dicker In New York!

Paul Weller In Los Angeles November 2010!!!

2010-11-05T20:34:00.000Z

Set List From The Wiltern

Courtesy Of Aaron! Cheers!

01. Aim High

02. Up The Dosage

03. Pretty Green

04. Floorboards Up

05. 22 Dreams

06. All I Wanna Do

07. That Dangerous Age

08. Into Tomorrow

09. Have You Made Up Your Mind

10. Shout To The Top

11. No Tears To Cry

12. Broken Stones

13. Trees

14. How Sweet It Is

15. You Do Something To Me

16. Pieces Of A Dream

17. Start

18. Fast Cars Slow Traffic

19. Echoes Round The Sun

20. Wild Wood

21. Wake Up The Nation

22. Andromeda

23. Art School (feat. Andy Crofts)

24. Come On, Lets Go

25. The Changingman

26. Porcelain Gods

27. Moonshine

28. That's Entertainment

Review From The OC Register
Paul Weller Eclectic As Ever At The Wiltern
By GEORGE A. PAUL

Paul Weller is definitely a rare breed among musicians who started their careers in the ’70s. Few of his contemporaries from British punk rock’s first wave (apart from ex-Clash man Mick Jones) still have the restless energy and creative drive necessary to make an adventurous studio album like Wake Up the Nation, which arrived on Yep Roc Records in April.

Alongside electronic DJ Simon Dine (Noonday Underground), Weller's frequent collaborators sought to create a claustrophobic city-life vibe -- sans the acoustic instrumentation prevalent on 2008’s equally ambitious 22 Dreams -- and basically succeeded. Some longtime enthusiasts might be initially puzzled by odd noises and instrumentals in a genre-splicing collection that crams 16 tracks into a 40-minute timeframe. Successive listens, however, reveal all its sonic nuances and hidden charms.

Guest musicians include drummer Bev Bevan (once of ELO), guitarist Kevin Shields (prime mover behind My Bloody Valentine) and Weller’s former bandmate in the Jam, bassist Bruce Foxton, marking the pair’s first recording together in more than 25 years. Earlier this year, Nation was nominated for the U.K.’s esteemed Mercury Music Prize, though it lost out to the xx's self-titled debut. But Weller also snagged an Ivor Novello, England’s top songwriting award, honoring his lifetime achievement.

An invigorating Wiltern Theatre gig Wednesday night, part of a quick mini-tour with just one Los Angeles date and two in New York City, found Weller, 52, still in peak vocal and musical form. The venue was nearly full, a testament to his continued cult following here; back home in the U.K., arenas are the norm.

A few years back, the Modfather (as Weller is affectionately called) jettisoned his longtime touring band, culled from Ocean Colour Scene, but retained masterful lead guitarist Steve Craddock. This group -- keyboardist Andy Crofts, bassist Andy Lewis and drummer Steve Pilgrim -- were tight throughout the night. Each of them pitched in on background vocals, which made a big difference amid more soulful numbers like “Have You Made Up Your Mind” and a sweeping, Phil Spector-esque “No Tears to Cry.”

The 28-song set came in at just under two hours and covered all facets of Weller’s career, with fine selections from the Jam (the Beatlesque “Start!,” “Pretty Green,” the acoustic guitar-based encore closer “That’s Entertainment”) and the Style Council (a glorious “Shout to the Top”), all getting expected jubilant crowd responses. Sporting a carefully mussed silver mane and clad in a charcoal gray sports coat and trousers, the singer/guitarist still looked the epitome of cool. “Aim High,” the first of nine tracks off Nation, opened the proceedings on a groovy note.

In a nod to childhood influences, old-school R&B touches and classic-rock jams were also part of Wednesday's performance. A dramatically recast cover of Marvin Gaye’s “How Sweet It Is (To Be Loved by You)” was colored by swelling organ, Weller’s soulful singing and his compelling piano work. Frenetic rave-up “Fast Car, Slow Traffic” included a bit of free jazz; the spacey mind-trip “Echoes Round the Sun” (co-written and performed on 22 Dreams by pal Noel Gallagher) contained extended guitar solos.

Brawny rocker “Wake Up the Nation” bore traces of the younger, more opinionated Weller (key lyric: “Get your face out of Facebook and turn off the phone / With the death of the post box / Nowhere feels like home”), as did an off-the-cuff remark about finding his new album in stores. Craddock’s wah-wah solo on a vigorous “From the Floorboards Up” was a wonder to behold; later, he’d engage in Pete Townshend windmill motions.

And on the subject of the Who, “That Dangerous Age,” a brand new song from Weller’s next studio album, recalled the British band’s early mod rock sound. Other highlights here included a sweet, soulfully revamped “Broken Stones,” the trippy “Pieces of a Dream” and “Porcelain Gods” -- the latter two dominated by Crofts’ billowy, Ray Manzarek-style sonic beds.

For the encores, the keyboardist moved front and center to play guitar and sing lead on the Jam’s “Art School,” while Weller handled backing vocals and never seemed to tire. The energy level was still so high, he probably could have easily gone another half-hour.

Setlist: Paul Weller, the Wiltern Theatre, Los Angeles, Nov. 3, 2010

Main set: Aim High / Up the Dosage / Pretty Green / From the Floorboards Up / 22 Dreams / All I Wanna Do (Is Be with You) / That Dangerous Age / Into Tomorrow / Have You Made Up Your Mind / Shout to the Top / No Tears to Cry / Broken Stones / Trees / How Sweet It Is (To Be Loved by You) / You Do Something to Me / Pieces of a Dream / Start! / Fast Car, Slow Traffic / Echoes Round the Sun / Wild Wood
First encore: Wake Up the Nation / Andromeda / Art School / Come On, Let’s Go
Second encore: The Changingman / Porcelain Gods / Moonshine / That’s Entertainment

November 4th, 2010

KCRW

Jimmy Kimmel LIVE!

Paul Weller Interviews In New Zealand!

2010-11-05T20:04:00.003Z

Paul did quite a few interviews in New Zealand.

Check THIS LINK for the full video interview via The New Zealand Herald.

This one comes via Off The Record

Paul Weller Interview Podcast

Classic Video - Paul Weller/The Jam - Sound Affects LIVE!

2010-11-02T16:01:00.001Z

Paul Weller At The Power Station In Auckland, NZ (10-29-10) - A Fan's Review!

2010-11-01T20:37:00.000Z

Concert review: Paul Weller, Auckland, October 29
By: Nik Dirga

There's a reason Paul Weller was dubbed 'The Modfather' of British pop. From his early days with the short sharp punk attacks of The Jam to leading the way for "Britpop" in the early 1990s to his modern soulful experimentation, Weller has been at the vanguard of British music, combining his idols The Who and the Kinks with his own fierce music and bittersweet passions.

He's never been huge in the US, but Weller's albums consistently top the charts in England; the whole country and its thick, living history and class culture are his muse. For my money, Weller's as vital as he's ever been -- this year's album "Wake Up The Nation" is a barnstormer, one of the best of 2010.

He made it to Auckland this weekend in a series of three sold-out shows at the Powerstation, his first appearance in New Zealand ever. From the moment he took the stage, clad in black and chatty in his thick accent, Weller did a fine job surveying his 40-year-career, mixing the old Jam and Style Council classics with his superb more recent work. (This guy apparently thinks Weller should have played nothing but Jam tracks, but I disagree -- the man's got a rich and diverse catalog, why not explore it?)

I actually really discovered Weller with his solo albums, particularly 1993's rich, soulful "Wild Wood," and only came to the Jam belatedly some time later. As he's aged Weller has weathered and seasoned like a fine old oak, into a peerless singer/songwriter who evokes a timeless mood tinged with that old punk anger. The best comparison I can make is to another old angry young punk, Elvis Costello, who's lasted far longer than anyone might have guessed by constantly changing his approach.

Weller showed off all his sides during the show -- highlights included a storming, psychedelic jam through "Pieces of Dreams" from his latest album, or the sweeping, eclectic "Trees," which crams together several different songs into one powerful mix. The "Stanley Road" classic torch song "You Do Something To Me" got a loving take, while "Echoes Round The Sun" (written with Noel Gallagher) was a feedback-laced gem. The old Jam classics could be counted upon to get the crowd raving, such as a bouncy bass-driven "Start!" (smashed together with the brand new "Fast Car/Slow Traffic" in a sterling medley) and a massive fist-pumping singalong take on "Eton Rifles," or The Style Council's poppy "Shout To The Top."

Over nearly two hours and two encores, Weller swerved from piano-led balladry to crunchy guitar anthems without missing a beat. It's good to see The Modfather is still full of plenty of steam and I can't wait to see what he does next.

Paul Weller Feature From Stuff.co.nz!

2010-11-01T20:29:00.000Z

Ageless Weller Still Stylish
JEFF NEEMS - Waikato Times

Paul Weller adjusts his perfectly tailored trousers and Dolce and Gabbana shirt, reaches out to shake my hand, and greets me with his ''how are ya mate'' English geezerism before sitting on a leather couch.

I am trying desperately to stay cool, despite my rapid heart rate and nervousness at meeting a musical hero, the king of Mod culture and Brit-rock and inspiration to a generation of British bands like Oasis, Blur and Pulp. A Weller fan for, oh, 20 years, this brief interview is a career highlight.

So, in an effort to establish my credentials without looking obsessive, I ask about an old Lambretta scooter he was pictured on for press shots an eon ago.

''It was an SX200,'' he says of the bike.

''I gave it to be auctioned off about 10 years ago, for a teenage cancer trust. It was a thing Roger Daltrey (The Who) was sort of involved in, and it was at (London's) The Royal Albert Hall in fact. They had the scooter outside the Albert Hall, being auctioned off...which I've subsequently seen on eBay, or some other auction site, which was guttin', man, because it was a beautiful bike,'' he says, frowning.

(Mental note to self: do not on-sell Weller memorabilia.)

Making his first visit to New Zealand in a long and distinguished career, 52-year-old Weller's three shows at Auckland venue Powerstation sold out in hours, and he admits to being ''amazed, man'', unaware ''of what sort of audience I had here''.

He accepts there's an element of ''homecoming'' for the high percentage of 40-plus ex-pat Brits who attend his gigs outside the United Kingdom and want to hear The Jam and Style Council songs. But, as if to emphasise the importance of his muse, Weller changed the set list for each of the three concerts to include material from 2008's 22 Dreams and this year's Wake Up The Nation.

While his international success has been limited, he's revered in his homeland, touring almost constantly, and has been referred to variously by British media as ''a national treasure'' and ''a British cultural institution''.

''If you live long enough, and keep doing the same thing you've always done, that's what happens. I can think of worse things to say,'' he says of the media praise, ''but it just makes me feel old.''

Wake Up The Nation has a subtle angry streak, and when quizzed about its nomination for Britain's The Mercury Prize, he admits disappointment he didn't win. But as for the 2009 Brit Awards Lifetime Achievement gong, he "didn't really f***ing care mate, to be honest wif ya, know what I mean?''.

''If you look at it, the Spice Girls have won it,'' he scowls.

Weller is equally dismissive of the prospect of a knighthood: ''Nah, it'll never 'appen mate. I got offered the CBE, or some old bollocks, about two years ago...told them they could keep it, obviously. It's just bollocks man, just absolute nonsense, a political move for whoever is in power at the time, make them look trendy, down with the kids and all that shite.''

Weller's also done and dusted with his once-strident political comment. He thinks ''it's more important for us English people to get on with our lives, carry on with our culture'', and with hindsight admits the intention to Wake Up The Nation with the recent album ''might be a bit grandiose'': ''Can a pop record ever do that...possibly?''.

Throughout Weller's career, he's been with numerous different labels and is blunt when asked for his views on the current state of the music industry: ''Well, without putting too fine a point on it, it's f****d, really.''

''I'm looking at it in an optimistic way, I think it might take a few years for it to settle down and become something else again.

''Quite a few years ago, before the advent of the downloading and digital thing, people were telling me - musician friends - 'oh it's gonna be great, we'll be autonomous, we won't need record companies', but I still haven't seen any evidence of that,'' he says.

The people who told him that 10 years ago ''aren't selling loads of records, or being particularly autonomous'', he observes dryly, ''they're still scratching around looking for record deals''. His current record company, Island, has begun reissuing older material in deluxe format (Wild Wood, The Jam's Sound Affects), and Weller says ''they do a good job of it''.

"I'm happy my records are coming out, but I don't know how much more they can put out, people can probably have their fill of it."

But again he admits to ''showing his age'' when revealing he ''was always happy with a single, A and B sides, an album was an album, and that was it''. He doesn't feel he's embraced modern digital delivery of music, but ''whether or not I like it - and I don't like it - that's the way it is''.

''The majority of people are getting their music downloaded,'' he concedes. ''If you still want to carry on making music, you ain't got much choice but to join it, really.''

Weller now has an iPod, gifted to him by guitarist Steve Craddock, with ''a shitload of stuff on it'', although classical composer Debussy is the only thing he can remember.

''I like the shuffle thing, I have to say. But I'm from that generation where I miss records coming out on vinyl - I like having something in my hand, reading the lyrics, that sort of thing. I miss that.''

Spoken like a man after my own heart.

Weller has always been known as a musician who is looking ahead - hence his frustration with answering repeated questions on The Jam and The Style Council, although a few of those bands' tunes were among the weekend's shows - and he confirms he's written 10 songs for a new album.

''We probably won't get a chance to do too much more until after Christmas...but it's well on its way. Hopefully it will come out sort of September next year. I have got a title, but it's too early to say yet.''

Weller is focussed on ''just enjoying my life really'', and while ''getting drunk and listening to loud (rock) music has gotta be up there'' in terms of the good things in life, it seems ''being in love and gettin' married'' recently has given him a new energy.

Asked what has kept him going, he responds: ''I just like doing what I do''.

''From the time I was 10 years old, I wanted to do music, wanted to be in a band. For anyone to get their wish in life, it's an amazing thing. I put a lot of effort into it, and God knows I have done over the last 40-odd years. It's like anything, you only get out of it what you put in...what you give is what you get,'' he says, quoting a Jam lyric.

''I'm a lucky man, y'know, and I don't take anything for granted. I'm still lovin' it, and I guess the day I don't love it, I'll stop. But I don't think that day will ever come. There's loads more music inside me to get out.''

Paul Weller's Wake Up The Nation is out now on Island.

Paul Weller To Perform Outdoor Concert in LA For Jimmy Kimmel Live!

2010-11-01T11:27:00.000Z

From PaulWeller.com

PAUL TO PERFORM SPECIAL CONCERT FOR JIMMY KIMMEL LIVE!!!

On November 4, Paul will be in Los Angeles to perform an extra-special concert for Jimmy Kimmel - and you could be there to watch it live. Paul will be playing a special 10-song set on an outdoor stage set up by the studio which fans will be able to watch for free. Two of the songs from the performance will also be broadcast on Jimmy Kimmel Live later that day.

Fans can apply for tickets now right here, it is strictly two tickets per application.

You will then need to be at the venue for 6:45pm (PDT) on the day in order to get into the concert.

Paul Weller Interview With Gibson Guitars!

2010-11-01T11:13:00.000Z

The Gibson Interview: Paul Weller
Michael Wright | 10.29.2010

Paul Weller has been at the vanguard of British music since the release of the generation-charging single, “In the City,” in 1977. Angry like a punk, stylish like a Mod and soulful like an R&B man, Weller has consistently followed his own muse, even when that meant breaking up the very successful Jam and dissolving his hit-making follow-up outfit, The Style Council. Worshipped ever since by songwriters (most notably, Noel Gallagher), the “Modfather” continues to make finger-popping, hard-charging, yet elegantly soulful records to this day. Gibson.com caught up with Weller recently to discuss his illustrious career, his famous disciple/drinking buddy and the possibility of a Jam reunion.

What are your earliest musical memories? What were Mom and Dad listening to around the house?

I can always remember hearing music around our house. Records and the radio. The Beatles, Nat King Cole, The Kinks and Elvis!

What artist or artists made you first want to pick up a guitar?

The Beatles. They got me and the rest of the world into it.

How old were you when you got your first guitar? Was it a present? Did you save up for it?

My dad bought me a cheap, second-hand one when I was 12 and that was it for me.

Can you describe that first version of The Jam? You were, what, 14? How good were you guys?

We were dreadful! We just played cover versions of rock ‘n’ roll and R&B. Slaughtered them, really.

What do you remember about your first gig?

It was a Wednesday night in the local Social Club to seven or eight disinterested punters. Only two of us and our first taste. I was only 14 years old.

When did it start to really click for you – the songwriting, the playing? When did you start to look around and think, “Hang on, this could be something...”

Probably by the time I was 21, really – by The Jam’s third L.P. That’s when I realized what it really entails and took it seriously.

How comfortable were you with being lumped in with punk? From a songwriting perspective, especially, you guys were light years ahead of the punk scene.

Well, originally, punk was great – it was my generation’s wake-up call. I was really into it, man.

When did you start to think about incorporating more soulful, R&B elements? Was that a popular move within the band? Was everyone onboard with that creative shift?

Well, we’d always had that influence, right from the start, so it was very natural.

Ultimately, why did The Jam dissolve? You were on top of the world at the time.

I needed to move on. I’d been with the same band for 10 years. I wanted to go out and find the other parts of my life. I was still only 24.

How long was the idea of The Style Council in your head before you actually formed the band? Was it a musical itch you’d been wanting to scratch for a while?

Yeah, at least a year or so. I was listening to other types of music. I felt constrained by The Jam.

When The Style Council ended, it was the first time you’d been without a band since you were a teenager. Was that exciting or terrifying?

Both, I guess. Though mainly terrifying. I was lost. Didn’t know what I wanted to do.

When ’90s bands began lining up to pay homage to “The Modfather,” was it a bit disconcerting? You were still a pretty young guy.

No, I loved it! I felt “wanted” again. I’d been out in the cold for so long I felt glad to come in and be loved a bit.

How did you and Noel Gallagher first meet? Did it click right away? Was it an instantaneous friendship?

Pretty much, I think. We were both doing a lot of partying, too, and that helped/hindered!

Do you reckon this is it for Oasis or do you think eventually the brothers will work it out?

Who knows?

Speaking of which, you and Bruce Foxton recently played together onstage for the first time in 28 years at the Royal Albert Hall. How did that come about?

Well, Bruce came down and played on the new L.P. and it seemed natural to extend that to a couple of gigs. It was fun.

You know what question’s coming next…so I apologize–truly…but is there any chance that the three of you, as a group, will ever tour or record again?

NO!!!

Bruce appears on Wake Up the Nation. What does he bring as a bassist?

He has a very recognizable sound and style, and he was definitely the right man for those tracks.

The title track is a pretty rocking song. Can you tell me a bit about it? Were you thinking about any particular feel or artist or song when you wrote it?

Not really – it’s in the spirit of the album. We were trying to make music we weren’t hearing anywhere else.

“No Tears to Cry” has such a cool, late-’60s soul feel. What is it about that music still resonates with you?

It’s timeless, man. It rings true through the ages. It’s the heartbeat of the planet.

What still drives you to make music?

Because I absolutely adore it, believe in it and hold it up to be the truth amongst the bulls--t.

From Gibson.com

Paul Weller At The Power Station In Auckland, NZ (10-29-10)

2010-10-29T22:17:00.000+01:00

Paul Weller
October 29: The Powerstation, Auckland

British legend Paul Weller found himself in a bit of a jam last night.

Does the man known as the Modfather play his greatest hits or mix up his new music?

Given that this was his first appearance in New Zealand, there really was only one answer - the punters wanted the 34-year drought broken with a flood of familiarity

But Weller ignored that too much during this 90-minute Kiwi debut.

He started superbly and finished very strongly, belting out the snappy anthems that made his original band The Jam so influential in the late 70s and early 80s. In between things fell a bit flat with Weller guilty of being a little self-indulgent in playing tracks that seemed to be lost on the capacity crowd.

Given his peculiar absence from these shores - noted by Weller early on the night: "It's been a long time but we finally got here." - the man who transposed punk with a cool edge, should have read his audience better.

They were there to hear The Jam and The Style Council, they didn't really want to ramble down Stanley Road. And the crowd was the perfect barometer. The Eton Rifles had them up early as did Shout To The Top.

And the thumping renditions of That's Entertainment and Town Called Malice had the ground floor bouncing about. But they came too late in this slick show. The middle stages of such an anticipated night were a little under-Weller-ming.

That's Weller though. He's always been his own man. His creativity burns too strongly to be stuck in the past for too long. Why else would he break up The Jam at their peak? He has maintained his drive and energy to consistently win critical acclaim and sell a stack of solo albums.

It always been done with his trademark style. There's a uniqueness to Weller that has allowed him to transcend the decades with massive respect.

Just last month Weller ranked No 6 on the annual "cool list" of NME with the UK's musical bible earlier handing him their Godlike Genius award in February.

The reasons for that were obvious in Auckland. He poured his heart into Sea Spray, his distinctive voice dominated That Dangerous Age and there was an old edge to a track that was born out of collaboration with Oasis' Noel Gallagher.

The fact this show sold out so quickly is reflective of Weller's standing, his longevity and his unmistakeable sound. It will be interesting to see if he adjusts his sets for tonight's second show and Sunday's third.

The 52-year-old has plenty up his sleeve. Don't forget The Jam charted 18 consecutive top 40 singles in the UK, including four No 1 hits. That's clearly what the punters here want after being denied for more than 30 years.

And Weller has the goods to dish it up. He really is Mr Cool as the centre of attention and his guitar-driven four piece band are superb.

From Stuff.co.nz

Paul Weller Interview From FaceCulture!

2010-10-29T21:38:00.000+01:00

Video interview with legendary English singer-songwriter Paul Weller. FaceCulture spoke to Weller about relearning old songs, time travelling, the latest album Wake Up The Nation, safe time, music industry, his deceased father, bass player Bruce Foxton, No Tears To Cry, and lots more.

Paul Weller Scheduled To Appear On KCRW's "Morning Becomes Eclectic" In Los Angeles!

2010-10-26T14:02:00.001+01:00

Thursday, November 4, Paul Weller formed two influential bands — The Jam and The Style Council — before striking out on his own as a solo artist. He will plug in with his band when he returns to Morning Becomes Eclectic for a rollicking session at 11:15am pst.

Morning Becomes Eclectic Is Broadcast Live!

Listen HERE!

Paul Weller At The Enmore & Metro - A Fan's Review!

2010-10-25T22:23:00.000+01:00

Image & Review By: redgrevillea (Ross)

1986 was the year my love of a certain songwriter-musician flew into high gear. I was 16 years old in May 1986 when my sister bought me Paolo Hewitt's The Jam: a beat concerto. I was immediately captivated with this biography: the photos, the story, the easy-to-read though poetic and incisive style of writing, and ultimately, Paul Weller. I became a huge Jam fan, totally obsessed, and in varying degrees I remain so to this day. Here was a man who seemed to grow up with similar experiences to I and who looked so good and wrote such magnificent songs, who had such power and force of expression, and an acutely good musical ear. Paul Weller, along with John Lennon, was my man.

I never dreamt I would see Paul Weller perform live. By 1986 the Jam were dead and the Style Council were moving into making album statements away from live performance; it had been the Council's tour of Australia in 1985 that awakened me to Weller's previous incarnation, the Jam, although I never regretted not seeing the Council live at the Hordern Pavilion in August of that year. In 1986 it would have been inconceivable to think that Paul Weller, many years henceforth, would come full-circle and create music that was "Jam-like" during the latter part of the 90s, to move onto the world tour-circuit to perform songs from each and every era of his 33 year career. But there he was, five metres in front of me at the Metro, the man from Woking whose music I've listened to and whose person I've read about so much throughout these past 25 years.

I saw Paul Weller for the first time at the Enmore Theatre in 2008 where he and his band were touring the masterful 22 Dreams album. I was in such a euphoria that night. I waited by the back lane that was flanked by bodyguards, just hoping for a chat with mister Woking-class hero, but gave up on that when reality set in and instead just walked up King Street in a euphoric daze. Last Friday's gig at the Enmore wasn't quite as good; it was still brilliant, it's just that the overall mood wasn't quite as intimate as that first gig two years ago. Some things like 'mood' you just can't really pinpoint; Weller played some sublime songs last Friday: 'You do something to me', 'Broken stones', and the finale 'A town called Malice' that blow the roof off the theatre. Musical, songwriting, magnificence.

The gig at the Metro on Sunday night was much better. Because of the mosh-pit we were able to get in quite close. In fact, we were able to get in close by just strolling in ten minutes prior to the band coming on. There's no way this would have been possible at a Weller gig of the early eighties, or even the mid-nineties for that matter. But being 2010, in Sydney, and the on third night in a row for Weller in this particular strange town, it was just a matter of walking in casually. Most of the audience were happy to stand up on the elevated areas. We had to be near the front, and we were.

I was hardly in the mood for stepping out the door that day. It was a dreary, cold Sunday. There'd been a cold snap and it was wintery and blustery and the rain came down all day. I noticed that band all looked at each other with knowing grins when Weller sang the line "...pissing down with rain on a boring old Sunday...". Poor fellas. They were likely expecting good old-fashioned Aussie warmth, the type you hear about in the mother country. Wasn't happening I'm afraid. Still, they had a "splendid" time according to Paul and the band appeared to enjoy themselves, throwing themselves totally into this great music.

The songs off 'Wake up the nation' encapsulate some of that 1966/67 Beatles/Pink Floyd energy within some short, tight songs, almost rekindling the ethos or energy of punk. And yet the album sounds startlingly modern, like what 2010 is supposed to sound like. 2008's '22 Dreams' is loosier, folksier, and takes on a wider range of influences including mid-period Beach Boys and British 70s folk like Ronnie Lane. Weller performed only one 'Style Council' song on both nights, 'Shout to the top'. When you think about that canon of songs that belonged to the Style Council you just can't help but think of the colossal talent that is Paul Weller. There is a style and flavour to Council songs that are all their own, and it's almost hard to believe that the man on stage flailing away unfaultingly on his guitar is the same man responsible for this eclectic, mostly lovely body of great music and songs that epitomised some of the best of 1980s popular music.

The biggest cheers on the nights were characteristically drawn from the performance of old Jam numbers. 'Strange Town' was loud, symphonic, and magnificent, the most. 'Pretty Green' and 'Start' from the Sound Affects album highlighted Weller's Beatles influences, keenly matched with his equally acute sense of lyric, structure, and craft. 'That's Entertainment' really gets the crowd going. And surprise surprise, 'Art School' from 1977 flew down gloriously well with one of Weller's band taking the main vocal. The song doesn't date live as one might think it would, and it still seems credible with an old geezer taking the lead vocal, albeit intermittently. Then, 'A town called malice'. A song that's most perfect in it's passion and delivery, it's great melody and sheer lyric brilliance. This was the final song of Friday night's gig and it blew the roof off. We all shared it. Even Weller who wrote it can still feel it. It's the universal song of the overt and underlying pressures of living in the modern world. In its poetic brilliance, powerful music, melody and drive, 'A Town called malice' probably stands as Weller's ultimate masterpiece and remains a classic example of great popular music. Certainly one of the greatest songs ever written.

Original Post at 22 Dreams!

A Collection Of Photos From Paul Weller's Performance At The Enmore!

2010-10-24T23:18:00.001+01:00

A really nice collection of photos from Paul's performance at the Enmore Theater in Sydney can be found at the following LINK.

Gig Review by Ginger Ninja, 25th October, 2010

Paul Weller could be doing the nostalgia circuit right now, along with the Eagles, the Rolling Stones and countless others, churning out the same twelve 30-year-old songs for audiences lusting after their distant youth. The kind of stasis that comes with that sort of gig, though, is completely at odds with the restless and creative man that broke up the Jam at their peak.

Burning with the kind of energy that’s sorely lacking in many contemporary songwriters, Weller still commits every ounce of himself to every chord. His latest album, the incendiary Wake Up The Nation, was a furious testament to this, and that record’s thunderous rock shaped tonight’s set – each song, regardless of its earlier form, was delivered with room-levelling force. Even Shout to the Top, the original glossy and fey even for a Style Council track, was thick and bombastic, the saccharine strings replaced by tough guitar stabs.

From the slashing intro of From the Floorboards Up, Weller led the assault with a cool charisma that suggested the NME might have been remiss in placing him as high as sixth on their 2010 Cool List. To steal a line from a make-up campaign, Weller doesn’t so much deny his age as defy it, throwing himself bodily into each song with the energy of a much younger man.

The top half of the set flew by without pause or hesitation, slamming from a muscular version of 22 Dreams, through Andromeda and Into Tomorrow to the steely 7 & 3 Is The Striker’s Name. After the aforementioned Style Council track, Weller introduced the next song as one “written some time in the 1800s” before striking up the immortal opening of That’s Entertainment, and at this point, your correspondent was concerned plaster would start falling from the ceiling, so mighty was the cry from the audience.

Working through a crowded set list (the show would ultimately go for two hours), Weller smashed out Jam, Style Council and solo tracks with unflagging enthusiasm. During the brighter numbers, like the insistent Pretty Green, Weller shuffled and danced, and though he might not challenge Justin Timberlake for grace, his joy was obvious to all.

After waving goodbye at the close of Echoes Round the Sun, Weller and Co. made us wait for the first encore, but the slightly prolonged delay was more than worth it for the live-wire Fast Cars/Slow Traffic. A few more tracks, and Weller ducked off again, but the audience wasn’t ready to let the night end. Thankfully, neither was Paul, and the band returned for another three song encore.

If he’d ended it there, no one would’ve been disappointed. Weller, clearly keen to repay the avid audience for their enthusiasm, returned one last time and, without a word, bassist Andy Lewis struck up the iconic bass intro for A Town Called Malice. Well, if the Enmore’s structural integrity was in doubt earlier, that was nothing compared to the wall-shaking roar that erupted. Those in the balcony leapt to their feet, dancing and shouting along to this, one of the best songs of the 20th century.

If there’s a textbook on how to run a gig, this forms the chapter entitled ‘How To End A Show’. Paul Weller, you’re a legend for a very good reason.

Paul Weller At The Metro In Sydney! (10/23/10) NEW SONG PLAYED - "Paper Chase"

2010-10-24T15:53:00.002+01:00

Set List & Vids Courtesy Of Kenny Smith! Cheers!!

NEW SONG! "Paper Chase"

Two More Videos Added To Paul Weller's Sun Biz Session!

2010-10-23T14:24:00.001+01:00

Image by Dave Hogan

Two additional performances have been added to the Sun "Biz" Session Paul did last month.

Wild Wood
No Tears To Cry

Paul Weller Scheduled To Appear on Jimmy Kimmel Live In The USA!

2010-10-23T14:15:00.001+01:00

Paul Weller is scheduled to appear on the US television show, Jimmy Kimmel Live on Thursday November 4th!

Pics Of Paul Weller At The Enmore Theatre (10-22-10)!

2010-10-23T13:56:00.000+01:00

Images Courtesy Of HarvieKrumpet! Cheers!!