Paul Weller Albums (12)
What The Critics Say
Of all the many things Paul Weller has done in his career, he has somehow managed to survive three decades without a double album to his credit. 22 Dreams rectifies that wrong, offering a luxurious sprawl that's proudly, staunchly classicist, just like Weller's solo career itself. Weller's embrace of rock & roll tradition might suggest that he has taken his double album as an opportunity to offer a summation of his career, to summarize where he's been and perhaps where he's going. Tempting though this may be, especially given the record's elastic, elegant eclecticism, this isn't quite a self-conscious summation, nor is it quite a risk-taking tour de force in the vein of the White Album, even though this encompasses everything from fragile folk to the resurrection of the sophisticated collegiate jazz of the Style Council. Instead, 22 Dreams has a floating romantic quality that justifies the dreams of the title, drifting from sound to sound, sometimes taking elaborate detours, sometimes stopping for a brief picturesque sideshow. In some ways, it's the flip of the piledriving As Is Now, where Weller indulged in harder inclinations, as this finds Weller exploring his softer side, often in ways he hasn't quite done before. There's still a crustiness to Weller -- he'll get sensitive, but he won't get sappy -- but there's an openness to 22 Dreams, in how he eases into a Curtis Mayfield homage as comfortably as he pays tribute to Alice Coltrane with Robert Wyatt in tow. Wyatt isn't the only guest here, either, as Weller expands his core band -- without leaving right-hand man guitarist Steve Craddock -- with cameos by Graham Coxon and Noel Gallagher (only he could unite these Brit-pop foes), the latter collaborating on a thick, hazy psychedelic "Echoes Round the Sun." This is about as dense as 22 Dreams gets, as it has a lighter touch, so graceful that it can disguise the number of styles Weller touches upon here, as he skips from electronica and pastoral jams lingering from Wild Wood to jazz and soul. Initially, this doesn't sound radical -- it is recognizably of a piece with his solo work, fitting neatly alongside either Stanley Road or Illumination -- but more listens reveal just how finely textured and woven this tapestry is. And although it shares superficial sonic similarities with his other records, 22 Dreams is really unlike any of Weller's other albums, as it's rich in sound and feeling, possessing a shimmering dreamy quality. It's an album to get lost in. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Another year, another live album. Paul Weller has turned out to be as predictable as the Rolling Stones in how he follows a new set of material with a live album, following every album since Wild Wood with a live record. Because of this it's hard not to superficially see 2006's Catch-Flame! Live at the Alexandra Palace as just another live album, but take the time to listen to Catch-Flame! and it soon reveals itself as a surprise every bit as bracing as Weller's 2005 studio album As Is Now: a record that doesn't sound all that different from its predecessor, at least on the surface, but underneath that surface, it's apparent that Weller's fire is again burning intensely. There's a vigor and vitality to this performance that eclipses all his other live solo albums; it's as kinetic as early Jam, but without abandoning the Traffic-inspired, jam-heavy aesthetic that marked his solo work. As such, it's satisfying both as an exciting, energetic live album and as one to savor, to really enjoy the interplay between the musicians, and it makes Catch-Flame! something far more than another Weller live album; indeed, it makes it closer to being the live Weller album instead of just another live record. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
If 2002's Illumination was a warm, laid-back record, Paul Weller's 2005 sequel, As Is Now -- a likeable but unremarkable covers album, Studio 150, appeared in the interim -- is its flip side, a lean, hard-hitting soulful rock & roll album. Not that Weller is returning to the sound of the Jam: he's still with the same band that he's been with since Wild Wood, anchored by drummer Steve White and featuring Ocean Colour Scene members guitarist Steve Cradock and bassist Damon Minghella, and he's working the same musical territory, grounded in Traffic, Humble Pie, '60s soul, and guitar pop. There may be absolutely no surprises here -- even the change of pace "The Start of Forever" is reminiscent of many of his gentler folky tunes, echoing Illumination's mellow vibe -- but for as familiar as As Is Now is, it never sounds lazy; it's a tighter, better record than most of his late-'90s albums. The closest antecedent to As Is Now in Weller's solo catalog is Heavy Soul. Like that 1997 effort, this is a straightforward, no-frills record, heavy on rockers and with few pretensions, but where that album could drift, this is focused and exciting, boasting a stronger set of songs and livelier performances, plus a greater variety of colors and textures in the production. Those subtle differences wind up making a huge difference in the overall effect of As Is Now -- on the surface, it certainly sounds familiar to what came before, but thanks to Weller's muscular, memorable songs and musicianship, it stands apart as one of his more satisfying solo albums. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
For Studio 150, his seventh solo studio album, Paul Weller delivers his first official covers album. Not that he's been reluctant to cover other songwriters, of course. Throughout his career, he's made covers a staple of his records and concerts. In fact, he cut so many as B-sides in the '90s that his 2003 B-sides and rarities compilation Fly on the Wall had a whole disc devoted to material from other songwriters. Studio 150 feels like a sister album to that disc, and not just because it shares a similar sensibility and has songs by both Tim Hardin and Neil Young. Musically, Studio 150 sounds as if it could have been recorded in 1995 as the missing link between Stanley Road and Heavy Soul, containing the swinging mod vibe of the former with the tough, muscular punch of the latter. While it could be argued that Weller is treading water, or even retreating after the subtle shifts forward on Illumination, it's almost a moot point since the band sounds terrific and he's in fine voice. Plus, this is a covers album and innovation isn't exactly expected on covers albums. What is expected is that the artist puts his own signature on songs from another writer, and Weller does that. True, as a whole Studio 150 doesn't sound all that different from other records in his catalog, but he's managed to find new spins on perennials like "Close to You" and "All Along the Watchtower," interpretations that fit within his signature blend of '70s soul, mod pop, and singer/songwriter introspection. Not surprisingly, the bulk of the album consists of songs from the late '60s and '70s, with selections from singer/songwriters like Tim Hardin, Gil Scott-Heron, Gordon Lightfoot, and Neil Young sitting comfortably next to relatively obscure soul and disco singles (with a previously unrecorded song from Weller disciple Noel Gallagher blending into the surroundings nicely). Some of these songs are familiar, but these arrangements are distinctly Weller's own, and it makes for an effective listen -- maybe not a major effort from the Modfather, but an enjoyable one all the same. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Paul Weller doesn't try anything explicitly new on his sixth solo album, Illumination, or at least it seems that way at first. It's firmly grounded in the soulful singer/songwriter style that he etched out on Wild Wood, but there are several subtle differences that give it its own character. As it turns out, Heliocentric was indeed a bit of a creative rebirth, signaling a return to stronger songwriting plus a willingness to play around with the arrangements. During the Stanley Road/Heavy Soul phase, it would have been unthinkable for Weller to loop a horn sample for a song's main hook as he does on "It's Written in the Stars," but he not only does that, he offers it as a lead single. And the horn sample is a good indication of where the sound of Illumination lies. There is little of the British folk and prog overtones of Heliocentric here, and soul takes the center stage; even when a track isn't explicitly soulful, it has a warm, welcoming vibe reminiscent of late-'60s/early-'70s soul. When the album drifts, as it does on the largely instrumental "Spring (At Last)," it's for atmosphere, enhancing the open, warm feel of the record. Even when Weller tears loose on occasion -- flashing violent rage on the rampaging "A Bullet for Everyone," for instance, or fiercely playing his guitar -- it functions as an effective counterpoint, emphasizing the comforting feel of the majority of the album. Best of all, it all feels effortless (unlike, say, the labored efforts of his peer, Elvis Costello, on his 2002 release When I Was Cruel), from the production to the songwriting. This is unlikely to be a huge hit, like Stanley Road, nor will it likely win many new fans, but that's not the point of Illumination. This, like any Weller album, is a snapshot of Weller's mood at the time, and it finds him aging gracefully and appealingly. Anybody who's gone this far with him will surely find it very satisfying. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Despite the unplugged boon of the '90s, Paul Weller steadfastly refused to succumb to the acoustic trend until the decade rolled over into the new millennium, and he did a solo tour shortly after the release of his fifth solo album, Heliocentric. This actually turns out to be a blessing in disguise, since Weller sounds relaxed and ready to confront his daunting back catalog, as happy to perform Jam tunes as he is to revisit his solo signatures. This results in a better solo live album than imaginable, since Weller is not only relaxed, he's loose and animated, giving an added dimension not just to his old Jam warhorses but from later Weller favorites. But the best thing about this album is that it sounds intimate and alive, as if he was performing his favorite songs in your living room -- an immediacy that's more apparent in these stripped-down arrangements than they are in full-fledged band versions. This doesn't necessarily result in an album that's packed in revelations for the doubters, but if you've spent any time with Weller's career, from the Jam to his solo albums, this will be a warm reminder of why you've grown with Weller -- and why it was worth it to devote the time. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Heliocentric is a lighter affair than the doggedly traditional Heavy Soul. It may be a subtle distinction, since he's using the same musical template he has since Wild Wood, plus the same producer and many of the same musicians. So, Heliocentric sounds very familiar, yet when it reaches its conclusion with the melancholy psychedelic sweep of "Love-Less," it's clear that it feels a lot different than its two immediate predecessors -- it's of a similar quality and emotional tenor as Wild Wood. It's also his strongest record since then, a remarkably sturdy and varied set of songs and performances. Sadness and regret are scattered throughout the album, but there's also humor, affection, and, ultimately, optimism -- three qualities missing on Heavy Soul. Heliocentric has many more musical quirks than its predecessor. Strings grace several songs, plus there are extended jams so psychedelic they're almost prog. There really aren't any rockers, but there's the wonderfully jaunty acoustic number "Sweet Pea, My Sweet Pea," one of his most unaffected and, well, sweetest songs. "A Whale's Tale" is his own spin on a sea ballad, while "Back in the Fire" rolls along on a nearly jazzy beat. Those ever-changing moods keep the record fresh and interesting, yet Heliocentric still winds up sounding part of a piece, since Weller is focused here, as a songwriter and a record-maker, which he hasn't been since Wild Wood. Like that latter-day Weller masterpiece, Heliocentric grows stronger with each spin, as the songs catch hold and details in the production and nuances in the performances reveal themselves. That may not constitute a new direction for Weller, but it's certainly a terrific record that signals a creative rebirth, which is the next best thing. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Like Stanley Road before it, Heavy Soul is more about vibe than songs. There are a few sharply written tracks here and there, but what's important is the rootsy, stripped-down atmosphere. Paul Weller's soul and R&B influences reign supreme on Heavy Soul, yet they are filtered through late-'60s psychedelia, blues-rock and prog folk, as he takes songs into extended instrumental jams. The band sounds tight, but Weller has suffered a bit of a songwriting slump, which is evidenced by the handful of keepers that form the core of the album. "Up in Suze's Room" is a hazy, folky gem, the soulful apology "I Should Have Been There to Inspire You" is affecting, and "Peacock Suit" is a fine "Changing Man" rewrite, but too much of Heavy Soul is concerned with texture instead of content. That doesn't make it a difficult listen -- in fact, it's quite entertaining while it's playing -- but there isn't much to explore on repeated plays. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
In many ways, Stanley Road is Wild Wood -- Part Two, a continuation of the laidback, soul-inflected rock that dominated his previous albums. Named after the street where he grew up, Stanley Road could be seen as a return to Paul Weller's roots, yet his roots were in The Who and the Kinks, not in Traffic. (At this point, the sound of The Jam matters little in what his music sounds like.) Weller's music has always had R&B roots -- the major difference with both Wild Wood and Stanley Road is how much he and his band stretch out. Stanley Road in particular features more jamming than any of his previous work. That doesn't mean he has neglected his songwriting -- a handful of Weller classics are scattered throughout the album. Unfortunately, too much of it is spent on drawn-out grooves that are self-conscious about their own authenticity. Still, he has the good sense to revive Dr. John's "I Walk on Gilded Splinters" and invite his disciple Noel Gallagher (Oasis) along to jam. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Paul Weller deservedly regained his status as the Modfather with his second solo album, Wild Wood. Actually, the album is only tangentially related to mod, since Weller picks up on the classicism of his debut, adding heavy elements of pastoral British folk and Traffic-styled trippiness. Add to that a yearning introspection and a clean production that nevertheless feels a little rustic, even homemade, and the result is his first true masterwork since ending the Jam. The great irony of the record is that many of the songs -- "Has My Fire Really Gone Out?," "Can You Heal Us (Holy Man)" -- question his motivation and, as is apparent in his spirited performances, he reawakened his music by writing these searching songs. Though this isn't as adventurous as the Style Council, it succeeds on its own terms, and winds up being a great testament from an artist entering middle age. And, it helped kick off the trad rock that dominated British music during the '90s. ~ Stephen Thomas Erlewine, All Music Guide
