― Robin Carmody, Wednesday, 25 April 2001 00:00 (12 years ago) Permalink
― philT, Wednesday, 25 April 2001 00:00 (12 years ago) Permalink
― David, Wednesday, 25 April 2001 00:00 (12 years ago) Permalink
― Eamonn, Wednesday, 25 April 2001 00:00 (12 years ago) Permalink
― Ned Raggett, Wednesday, 25 April 2001 00:00 (12 years ago) Permalink
But as a band, dud. Paul Weller just really makes me ill, something
about him bothers me greatly. It doesn't excite me and unfortunately
that's the only way I can describe it.
― Ally, Wednesday, 25 April 2001 00:00 (12 years ago) Permalink
― AP, Wednesday, 25 April 2001 00:00 (12 years ago) Permalink
― Nicole, Thursday, 26 April 2001 00:00 (12 years ago) Permalink
― Sean Carruthers, Thursday, 26 April 2001 00:00 (12 years ago) Permalink
― Omar, Thursday, 26 April 2001 00:00 (12 years ago) Permalink
― Richard Tunnicliffe, Thursday, 26 April 2001 00:00 (12 years ago) Permalink
― Andrew, Thursday, 26 April 2001 00:00 (12 years ago) Permalink
― stevie, Thursday, 26 April 2001 00:00 (12 years ago) Permalink
As for muso, there's this implication that such people are a)
soulless technicians (like, ooh, Kraftwerk or someone) and b) are the
sort of people who talk a lot about playing instruments for pleasure.
It's a bit of a tired word though.
― Tom, Thursday, 26 April 2001 00:00 (12 years ago) Permalink
Yup, muso is a tired word and using it in this case was plain
laziness on my part. Particularly as I was reaching more for its
connotations of authenticity fetishism rather than either of the
meanings Tom mentioned.
I also love the Jam for pretty much the same reasons Stevie doesn't:
uptight and claustrophobic. The inside-out apron on TOTP remains a
key pop moment for me, and the pop-art imagery seemed enormously
potent; still does, I suppose.
Neither is close to being my favourite band ever but both are
classic. Paul Weller's solo work has been pretty much exclusively
vile, and I can't even stand to look at pictures of him now, far less
listen to him. But I love his previous work enough that his current
stuff, and his lamentable association with a bunch of wheezing berks
like OCS, can't spoil it. At least, not completely.
― Tim, Thursday, 26 April 2001 00:00 (12 years ago) Permalink
In fact it's more than that. At any given time there are usually a
few artists who are hated in 'cool' circles beyond any rational
explanation. Weller takes the flak from all directions - from the
guitar-haters, dad-rock (whatever that is)- haters, 60's-haters, and
the post-Britpop backlash. All at once. Dislike doesn't NEED to be
rational, but so far in this thread most people have taken the
attitude that it's totally UNDERSTOOD that he's crap without giving
it a second thought.
I don't agree. The Jam were a great, great band -I don't really like
the Style Council, but admire his effort to do something new. The
solo work is just fine up to the patchy Heavy Soul and Heliocentric.
Yeah it's trad, yeah it has guitars and mellotrons, but I'm not going
to feel guilty about liking 'Wildwood' and 'Stanley Road'.
― Dr. C, Thursday, 26 April 2001 00:00 (12 years ago) Permalink
2. I think that Tom is, um, on the money here: it *did* become *has
become?) the done thing to praise the SC and knock the Jam. And like
him, I find the reality to be a handful of good tracks, not an
all-time great band. In fact, come to think of it, it would be a
pretty small handful. Depends how big a track is, I suppose.
3. I largely agree with Tim H about the Jam. He's, you know, on the
― the pinefox, Thursday, 26 April 2001 00:00 (12 years ago) Permalink
― Ned Raggett, Thursday, 26 April 2001 00:00 (12 years ago) Permalink
The Style Council... Our Favourite Shop is a pretty catchy album from
beginning to end, "How She Threw It All Way" a great shoulda-been-a-
hit... so, Classic.
― Patrick, Thursday, 26 April 2001 00:00 (12 years ago) Permalink
I'm not surprised at Omar's response because Weller's entire career,
like The Smiths / Morrissey and the Manics, is essentially a UK
phenomenon and meaningless in the US and mainland Europe (admittedly
the Style Council made a few inroads into the US chart). But what I
find curious about Paul Weller, and still has me baffling about the
man even today, is how his self-positioning has shifted so violently
from aggressively upfront, uptight very parochially-concerned
young "face" (the early Jam records), to rather earnest "voice of a
generation" (the late Jam records), to some kind of soul-fuelled semi-
globalism (TSC), back to earnest rock sweat and irrelevance (solo).
I do find it interesting how one man can promote an aspirationally
cosmopolitan, culturally ambitious ethos (the naivety of TSC's
suburban perception of "sophistication" is what I find charming about
it), can shine so brightly and briefly, and then sink so definitively
back into the mire from which he came. So the cultural ins-and-outs
of Weller I find interesting more than I find most of his music, if
you see what I mean.
― Robin Carmody, Thursday, 26 April 2001 00:00 (12 years ago) Permalink
I don't see anything particularly contradictory in Weller's
directional shifts. The thread that runs through the whole thing is
his obsession with 'Mod' and the R&B/Soul of the 60's. It's true that
he has a history of embracing fashionable styles (eg the move towards
funk in the early 80's, and his conversion to House in the late
80's), but he always harnesses them to his core beliefs. I also don't
think it's fair to describe his more recent stuff as 'earnest rock'.
It's *intended* to be a joyous return to his roots (he's obviously a
great fan of Stevie Winwood & Traffic and they weren't particularly
earnest). I'm not saying that everything he's done is great, far from
it, but it seems reasonably consistent to me.
― David, Thursday, 26 April 2001 00:00 (12 years ago) Permalink
"It's true that he (Weller) has a history of embracing fashionable
Though, on "Confessions of a Pop Group", he went with
unfashionable, "timeless" MOR and light-classical styles, which make
up the first side of the album which I love. While "How She Threw It
All Away" and "Why I Went Missing" from the second side of the album
are classic to me, other tracks are a little tepid and stuck in very
"I also don't think it's fair to describe his recent stuff
as 'earnest rock'."
Just that it sounds that way to me. He's aspiring after some
notional idea of "joy", but a very cliched soulman's idea, and it all
sounds desperately well-meant, as though it was very unexciting and
boring to record. While I can see what you mean about Weller having
a consistency running through all his work, I do find quite a
difference between the "embrace everything; you can have fun *and* be
strongly of the left" (quite a fresh approach itself in those dour
Scargillian days) ethos the Style Council communicated, and the
narrow reference points and complete ideological emptiness of his
― Rossco, Thursday, 10 July 2003 20:03 (9 years ago) Permalink
― Bimble brings a lawn chair to antartica so he can sit and drink silver coff (Bim, Sunday, 22 January 2006 10:02 (7 years ago) Permalink
5 reasons to hate TSC1. The albums, famously the later stuff2. The cappucino kid sleevenotes3. their attempts at 'rap', ahem4. the jazz pretensions5. the offshoots - especially Respond, Tracie, etc...
― dr x o'skeleton, Monday, 23 January 2006 11:19 (7 years ago) Permalink
― m coleman (lovebug starski), Monday, 23 January 2006 11:36 (7 years ago) Permalink
― m coleman (lovebug starski), Monday, 23 January 2006 11:38 (7 years ago) Permalink
― 'Curt' Russell (noodle vague), Monday, 23 January 2006 11:43 (7 years ago) Permalink
― joan vich (joan vich), Monday, 23 January 2006 12:10 (7 years ago) Permalink
In particular I want to discuss "Confessions Of A Pop Group". I love that album so much that I had to purchase it separately even though I already had the box set. Such an ambitious album...maybe even pretentious...it has some flaws but to me it's filled with a weighty, comforting substance. Their stab at classical music or whatever...just crazy. No one wanted it out of them, no one cared a jot, but yet...look what they did.
That said, "Life At A Top People's Health Farm" is utter crap and even Weller himself said he was unhappy with it later.
"It's A Very Deep Sea" alone should convince anyone they had something uncommonly brilliant to offer here.
― Good Warlock of the West (Bimble...), Sunday, 7 January 2007 06:00 (6 years ago) Permalink
― Good Warlock of the West (Bimble...), Sunday, 7 January 2007 06:15 (6 years ago) Permalink
I don't know why the song Money Go Round sounds better than ever now, and I've heard it plenty of times already:
― Bimble Is Still More Goth Than You, Saturday, 7 June 2008 06:26 (4 years ago) Permalink
Listening to The Style Council's The Complete Adventures Of The Style Council box set over the last couple of days, which features all of the material released under The Style Council name throughout their career, plus the unreleased (at the time) lost 'house album'. Listening to their material in this way, I'd say their output was classic until The Cost Of Loving which (maybe 'Waiting' aside) is a massive dud, IMHO. The first side of Confessions Of A Pop Group is classic, and undoubtedly features some of the most adventurous music Weller ever made, and this includes his recent solo stuff. The second half is dud, though, as is the 'house album'.
One thing that I've noticed about The Style Council era from about 1983-1985 is that Weller has a tendency to revisit his songs quite a lot. 'The Paris Match', 'Headstart For Happiness', 'My Ever Changing Moods' to name three were recorded in one or two different arrangements and put out on different releases. Weller didn't really do this very much in either The Jam or his solo career, if at all.
― The Jupiter 8 (Turrican), Friday, 3 August 2012 21:16 (9 months ago) Permalink