“I can only say that anyone, regardless of race or colour, should be horrified by what happened, and is still happening, and that has happened for centuries. He wrote it immediately after seeing the murder of George Floyd. Fat Pop, the LP’s heart, is about how music can get you through the bad times Cosmic Fringes is Weller imagining the life of a keyboard warrior: “I’m a sleeping giant, waiting to awake, I stumble to the fridge, then back to bed” That Pleasure is his take on the Black Lives Matter movement. “It was a conscious decision to make it like that.” Weller talks about some of the tracks. “Yeah, they’re all short, like three minutes, and they’re all immediate,” he says. It’s a strong album, a collection of banging singles. This preparation meant that last summer, when Britain started opening up again, everyone was ready to record, and Fat Pop (Volume 1) was finished by October. A couple of songs involved other vocalists (the Mysterines’ Lia Metcalfe Andy Fairweather Low) and they did the same. At Black Barn, he’d record his voice and guitar, then send the resulting tracks to his band – Steve Cradock (guitar), Andy Crofts (bass), Ben Gordelier (drums) – who’d work on their parts.
PAUL WELLER ON YOU TUBE PLUS
Black Barn consists of a large, comfy studio, an adjoining office (platinum discs, selection of old photo-booth pictures), plus the house next door, with garden and trampoline. “I was working a three-day week.” He had “four or five” tracks left over from the recording of his previous album, the chart-topping On Sunset, so he worked on those at his home in London before popping here, to his Black Barn Studios, every so often. “Nothing else to do, was there?” he says. Work-wise, though, his lack of patience seems to have become even more acute recently he’s brought out an album every year for the past four years, and used the most recent, locked-down 12 months to create his 16th solo record, Fat Pop (Volume 1). Though he’s not cross all the time, by any means. By his taste shall ye know him (he’s also wearing old Prada trousers, and a jumper he designed himself for Ivy League outfitters John Simons)… alongside a just-under-the-surface anger, a time-is-ticking impatience, a suspicion of the elite. He is, and has always been, about music, and clothes, and details. This was the main highlight from the LP, which also featured appearances from Noel Gallagher and Stereophonics frontman Kelly Jones.In an inconsistent world of ever-changing rules, Weller is a constant. This is the fourth track from Paul's sixth solo album Illumination, released in 2002. That was the first time, in the early '90s, when I was finding my feet again." 7. The album was seen as Paul returning to his 'roots', with him later saying: "I hadn't been down to Woking in a long time. This was the third single from Paul's self-titled debut solo album in 1992. "Writing it was easy in a sense because all those images were at hand, around me." 6. "I was in London by the time I wrote 'That's Entertainment'," Paul said later. Such was the popularity of The Jam at the time, this 1980 song reached the UK top 40 on import sales alone, as it was never actually released as a single. It has been covered by many artists over the years, ranging from Randy Crawford to Beyonce to Seal.īillie Rae Calvin wrote the song with Barbra Streisand in mind, but producer Norman Whitfield took it for his label’s group instead. Paul covered this 1978 Rose Royce track for his covers album Studio 150 in 2004. Taken from their debut album, this romantic tune is arguably their most famous song. 'You're the Best Thing' (with The Style Council)Īfter leaving The Jam, Paul took on a far more soulful sound with his next band The Style Council. The album version was an acoustic number, but he also released a Sheared Wood remix which contained a backing beat.īonus fact: Max Beesley appeared on the album as a percussionist before he found fame as an actor. The title track from Paul's second solo album, this was also a top 20 hit.
But you can interpret it whichever way you want”.
"Ironically, it’s really about unattainable love.
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