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[>
It is his BEST solo album...not a duff track on there....looking forward to the new deluxe boxset. -- A.K, 15:05:25 10/22/07 Mon
>After fronting mod rock legends The Jam in the
>Seventies and The Style Council in the Eighties, Wild
>Wood allowed Weller to make his mark in the Nineties
>
>Now, 14 years after its release, a special deluxe
>edition — backed with demos, radio sessions, and
>remixes — is out on October 29.
>
>Still sounding as relevant and as good as the first
>time around, it’s an album that warrants the term
>“masterpiece”.
>
>And an upbeat Paul tells me: “Without blowing my own
>trumpet it’s a mark of a good song if it stands the
>test of time. And I think the songs on Wild Wood do. I
>think it caught the mood of the time for a lot of
>people.”
>
>Creative
>
>As I talk to The Mod-father at his Surrey studio where
>he is making his ninth solo album, he is caught
>between excitement for his new songs and immense pride
>in the album that set his solo career on the right
>track.
>
>“It was just the right time for Wild Wood. Everything
>was on the up. I was going through a really creative
>time and most of the tunes and demos are on the deluxe
>edition.
>
>“We had just finished the first solo album when we
>started demo-ing for the second — Wild Wood. It was a
>real purple patch.
>
>“I felt really positive — songs were flowing, the vibe
>was good between the musicians, me and Brendan Lynch,
>the producer.”
>
>the jam
>
>The end of The Style Council had marked the most
>difficult period in Paul’s career. But returning with
>his self-titled first solo album and then Wild Wood
>was crucial for him.
>
>He explains: “It had been a pretty s**t time for me.
>Wild Wood was so important because I was just finding
>my confidence again. I’d rediscovered my love of the
>guitar and tracks like Shadow Of The Sun were really
>free and jamming.
>
>“It was quick to record because all the songs were in
>place — it was a pivotal moment for me. You could tell
>there was a new excitement in the air. It was like,
>‘OK we’re back and we’re going to have it again’.”
>
>Listening to the demo versions on the deluxe version
>takes Paul right back to the time they were recorded.
>
>He says: “They sound really fresh and I can’t believe
>how much time has elapsed — it could have been
>yesterday. It doesn’t feel like 14 years. The demos
>are from 1992 and 93 — it’s f*****g mental, it’s so
>long ago. A good song will last, no matter when it was
>written.”
>
>Paul is proud of every track on Wild Wood but there
>are a few that are really special to him.
>
>“Shadows Of The Sun will always mean something to me.
>When we played that at Glastonbury in 1994, it was
>pretty amazing — a really transcendental moment.
>
>“Sunflower is always great and Wild Wood, the title
>track, is definitely another one. Whenever we play
>that one, it drops for everyone.” Paul found himself
>the darling of the music world again when Wild Wood
>was released in September 1993. It went straight to
>No2 in the charts and he was back playing sold-out
>shows at huge venues.
>
>Paul says: “I found it amusing that I suddenly was
>‘in’ again. The music press was writing nice things
>about me and I felt a mixture of bemusement and, well,
>an ego boost.
>
>“I’m not particularly cynical but I hadn’t made this
>album for anyone but myself.
>
>“We had all been buzzing off it but we didn’t know if
>there was an audience for it.” There certainly was —
>and Paul was on a roll. His next album release,
>Stanley Road in May 1995, shot in at No1. Has Paul
>ever felt pressure to live up to the acclaim of Wild
>Wood and Stanley Road with the albums that followed?
>
>paul weller
>
>He tells me: “Every album is important to me — good or
>bad.
>
>“My songs are my children and sometimes you make a
>record and it connects with people like Wild Wood
>really did.”
>
>The deluxe version includes original album tracks and
>B-sides.
>
>“It also has unreleased tracks and covers, some of
>which Paul never intended to go on any album including
>his cover of I’m Only Dreaming by Small Faces and
>Black Sheep Boy by Tim Hardin.
>
>He says: “I’m Only Dreaming is just a demo really.
>It’s just us getting pissed in the studio and having
>fun — now it’s on the album for all the world to hear!
>I don’t mind though. It captures the mood in which the
>album was made.
>
>“With Tim Hardin, he was someone I got into in the
>early Nineties. I really opened up to different music
>and stopped being so blinkered.”
>
>Paul says he is a big fan of other singer-songwriters
>these days. “I like James Morrison, I love his voice
>and Paolo Nutini, I think he’s great.
>
>“I just did a single with Gabrielle who I’ve worked
>with before. She’s such a lovely person. I’m up for
>working with anyone. If they’ve got something to say
>or anything positive to put forward then I’m up for
>working with them.
>
>“I sang with Amy Winehouse a while back. She’s top.
>I’d love to work with her again.”
>
>Despite the recent trend for reunions, a return for
>The Jam, or performing with bassist Bruce Foxton and
>drummer Rick Buckler, is not on the cards.
>
>Paul’s former bandmates have just started touring
>together for the first time in 25 years under the name
>From The Jam.
>
>In his statement when the band split in 1982, Paul,
>then aged 24, said: “I’d hate us to end up old and
>embarrassing like so many other groups.”
>
>And he stands by those words today. He says: “I just
>think certain things are best left as they are so you
>have a sweet taste in your mouth and a good memory.
>
>“If you’re a good musician you have to move along and
>do something else.
>
>Powered
>
>“I’m not into this revival thing at all. Why is
>everyone reforming? I’m not talking about anyone in
>particular but they should just move on.
>
>“I don’t want to get caught up in a war with anyone
>but some things are best left.”
>
>the jam
>
>For now Paul is just looking to the future.
>
>He recently had a book called Suburban 100 published.
>It contains Paul’s lyrics and notes, with the cover
>artwork done by legendary pop artist Peter Blake, who
>did the cover art for Stanley Road.
>
>He says: “I was encouraged do it by John Wilson who
>edited it. It’s like a book of poetry and it’s there
>if you want it — just a little thing out in the world.”
>
>After suffering with writer’s block four years ago, he
>is in one of his most creative periods and has written
>and recorded 18 tracks for his new album, which he
>hopes will be out in Spring 2008.
>
>“I want it to be a double album and we’re writing and
>recording as much as we can. I want to make it the
>best album I’ve ever done.
>
>“I’m really proud of what we’ve done so far — it’s
>really different. Do you want a listen? I’ll play you
>a track. It’s f*****g top!”
>
>And as he plays me Light Nights, an amazing,
>pyschedelic, folky guitar track, powered by his
>trademark impassioned vocals, there’s no doubt that
>his genius shows no sign of diminishing.
>
>While this retrospective release may add some colour
>to the past, there’s no doubt there are masterpieces
>to come in the future.
[ Edit | View ]
[>
Sounds like its out already on early release through HMV. Still my favourite too. It was the album that really got me back into 'popular' music. -- The Weaver, 15:30:02 10/22/07 Mon
>After fronting mod rock legends The Jam in the
>Seventies and The Style Council in the Eighties, Wild
>Wood allowed Weller to make his mark in the Nineties
>
>Now, 14 years after its release, a special deluxe
>edition — backed with demos, radio sessions, and
>remixes — is out on October 29.
>
>Still sounding as relevant and as good as the first
>time around, it’s an album that warrants the term
>“masterpiece”.
>
>And an upbeat Paul tells me: “Without blowing my own
>trumpet it’s a mark of a good song if it stands the
>test of time. And I think the songs on Wild Wood do. I
>think it caught the mood of the time for a lot of
>people.”
>
>Creative
>
>As I talk to The Mod-father at his Surrey studio where
>he is making his ninth solo album, he is caught
>between excitement for his new songs and immense pride
>in the album that set his solo career on the right
>track.
>
>“It was just the right time for Wild Wood. Everything
>was on the up. I was going through a really creative
>time and most of the tunes and demos are on the deluxe
>edition.
>
>“We had just finished the first solo album when we
>started demo-ing for the second — Wild Wood. It was a
>real purple patch.
>
>“I felt really positive — songs were flowing, the vibe
>was good between the musicians, me and Brendan Lynch,
>the producer.”
>
>the jam
>
>The end of The Style Council had marked the most
>difficult period in Paul’s career. But returning with
>his self-titled first solo album and then Wild Wood
>was crucial for him.
>
>He explains: “It had been a pretty s**t time for me.
>Wild Wood was so important because I was just finding
>my confidence again. I’d rediscovered my love of the
>guitar and tracks like Shadow Of The Sun were really
>free and jamming.
>
>“It was quick to record because all the songs were in
>place — it was a pivotal moment for me. You could tell
>there was a new excitement in the air. It was like,
>‘OK we’re back and we’re going to have it again’.”
>
>Listening to the demo versions on the deluxe version
>takes Paul right back to the time they were recorded.
>
>He says: “They sound really fresh and I can’t believe
>how much time has elapsed — it could have been
>yesterday. It doesn’t feel like 14 years. The demos
>are from 1992 and 93 — it’s f*****g mental, it’s so
>long ago. A good song will last, no matter when it was
>written.”
>
>Paul is proud of every track on Wild Wood but there
>are a few that are really special to him.
>
>“Shadows Of The Sun will always mean something to me.
>When we played that at Glastonbury in 1994, it was
>pretty amazing — a really transcendental moment.
>
>“Sunflower is always great and Wild Wood, the title
>track, is definitely another one. Whenever we play
>that one, it drops for everyone.” Paul found himself
>the darling of the music world again when Wild Wood
>was released in September 1993. It went straight to
>No2 in the charts and he was back playing sold-out
>shows at huge venues.
>
>Paul says: “I found it amusing that I suddenly was
>‘in’ again. The music press was writing nice things
>about me and I felt a mixture of bemusement and, well,
>an ego boost.
>
>“I’m not particularly cynical but I hadn’t made this
>album for anyone but myself.
>
>“We had all been buzzing off it but we didn’t know if
>there was an audience for it.” There certainly was —
>and Paul was on a roll. His next album release,
>Stanley Road in May 1995, shot in at No1. Has Paul
>ever felt pressure to live up to the acclaim of Wild
>Wood and Stanley Road with the albums that followed?
>
>paul weller
>
>He tells me: “Every album is important to me — good or
>bad.
>
>“My songs are my children and sometimes you make a
>record and it connects with people like Wild Wood
>really did.”
>
>The deluxe version includes original album tracks and
>B-sides.
>
>“It also has unreleased tracks and covers, some of
>which Paul never intended to go on any album including
>his cover of I’m Only Dreaming by Small Faces and
>Black Sheep Boy by Tim Hardin.
>
>He says: “I’m Only Dreaming is just a demo really.
>It’s just us getting pissed in the studio and having
>fun — now it’s on the album for all the world to hear!
>I don’t mind though. It captures the mood in which the
>album was made.
>
>“With Tim Hardin, he was someone I got into in the
>early Nineties. I really opened up to different music
>and stopped being so blinkered.”
>
>Paul says he is a big fan of other singer-songwriters
>these days. “I like James Morrison, I love his voice
>and Paolo Nutini, I think he’s great.
>
>“I just did a single with Gabrielle who I’ve worked
>with before. She’s such a lovely person. I’m up for
>working with anyone. If they’ve got something to say
>or anything positive to put forward then I’m up for
>working with them.
>
>“I sang with Amy Winehouse a while back. She’s top.
>I’d love to work with her again.”
>
>Despite the recent trend for reunions, a return for
>The Jam, or performing with bassist Bruce Foxton and
>drummer Rick Buckler, is not on the cards.
>
>Paul’s former bandmates have just started touring
>together for the first time in 25 years under the name
>From The Jam.
>
>In his statement when the band split in 1982, Paul,
>then aged 24, said: “I’d hate us to end up old and
>embarrassing like so many other groups.”
>
>And he stands by those words today. He says: “I just
>think certain things are best left as they are so you
>have a sweet taste in your mouth and a good memory.
>
>“If you’re a good musician you have to move along and
>do something else.
>
>Powered
>
>“I’m not into this revival thing at all. Why is
>everyone reforming? I’m not talking about anyone in
>particular but they should just move on.
>
>“I don’t want to get caught up in a war with anyone
>but some things are best left.”
>
>the jam
>
>For now Paul is just looking to the future.
>
>He recently had a book called Suburban 100 published.
>It contains Paul’s lyrics and notes, with the cover
>artwork done by legendary pop artist Peter Blake, who
>did the cover art for Stanley Road.
>
>He says: “I was encouraged do it by John Wilson who
>edited it. It’s like a book of poetry and it’s there
>if you want it — just a little thing out in the world.”
>
>After suffering with writer’s block four years ago, he
>is in one of his most creative periods and has written
>and recorded 18 tracks for his new album, which he
>hopes will be out in Spring 2008.
>
>“I want it to be a double album and we’re writing and
>recording as much as we can. I want to make it the
>best album I’ve ever done.
>
>“I’m really proud of what we’ve done so far — it’s
>really different. Do you want a listen? I’ll play you
>a track. It’s f*****g top!”
>
>And as he plays me Light Nights, an amazing,
>pyschedelic, folky guitar track, powered by his
>trademark impassioned vocals, there’s no doubt that
>his genius shows no sign of diminishing.
>
>While this retrospective release may add some colour
>to the past, there’s no doubt there are masterpieces
>to come in the future.
[ Edit | View ]
[>
Changes (Demo) = Blink And You'll Miss It !!!!!!!!! -- HS, 22:23:29 10/22/07 Mon
[ Edit | View ]
[>
His best solo Album was called "Paul Weller", and not many people know that. -- Wild Woody, 05:12:20 10/23/07 Tue
[ Edit | View ]
[>
His first solo album is my 2nd fav, really souly and jazzy sounding, what i would like him to do know is do a one off Albert Hall gig just playing the FULL "Wildwood" album from start to finish in the right order, just like Brian Wilson did with Pet Sounds a few year's ago. -- A.K, 08:51:04 10/23/07 Tue
>After fronting mod rock legends The Jam in the
>Seventies and The Style Council in the Eighties, Wild
>Wood allowed Weller to make his mark in the Nineties
>
>Now, 14 years after its release, a special deluxe
>edition — backed with demos, radio sessions, and
>remixes — is out on October 29.
>
>Still sounding as relevant and as good as the first
>time around, it’s an album that warrants the term
>“masterpiece”.
>
>And an upbeat Paul tells me: “Without blowing my own
>trumpet it’s a mark of a good song if it stands the
>test of time. And I think the songs on Wild Wood do. I
>think it caught the mood of the time for a lot of
>people.”
>
>Creative
>
>As I talk to The Mod-father at his Surrey studio where
>he is making his ninth solo album, he is caught
>between excitement for his new songs and immense pride
>in the album that set his solo career on the right
>track.
>
>“It was just the right time for Wild Wood. Everything
>was on the up. I was going through a really creative
>time and most of the tunes and demos are on the deluxe
>edition.
>
>“We had just finished the first solo album when we
>started demo-ing for the second — Wild Wood. It was a
>real purple patch.
>
>“I felt really positive — songs were flowing, the vibe
>was good between the musicians, me and Brendan Lynch,
>the producer.”
>
>the jam
>
>The end of The Style Council had marked the most
>difficult period in Paul’s career. But returning with
>his self-titled first solo album and then Wild Wood
>was crucial for him.
>
>He explains: “It had been a pretty s**t time for me.
>Wild Wood was so important because I was just finding
>my confidence again. I’d rediscovered my love of the
>guitar and tracks like Shadow Of The Sun were really
>free and jamming.
>
>“It was quick to record because all the songs were in
>place — it was a pivotal moment for me. You could tell
>there was a new excitement in the air. It was like,
>‘OK we’re back and we’re going to have it again’.”
>
>Listening to the demo versions on the deluxe version
>takes Paul right back to the time they were recorded.
>
>He says: “They sound really fresh and I can’t believe
>how much time has elapsed — it could have been
>yesterday. It doesn’t feel like 14 years. The demos
>are from 1992 and 93 — it’s f*****g mental, it’s so
>long ago. A good song will last, no matter when it was
>written.”
>
>Paul is proud of every track on Wild Wood but there
>are a few that are really special to him.
>
>“Shadows Of The Sun will always mean something to me.
>When we played that at Glastonbury in 1994, it was
>pretty amazing — a really transcendental moment.
>
>“Sunflower is always great and Wild Wood, the title
>track, is definitely another one. Whenever we play
>that one, it drops for everyone.” Paul found himself
>the darling of the music world again when Wild Wood
>was released in September 1993. It went straight to
>No2 in the charts and he was back playing sold-out
>shows at huge venues.
>
>Paul says: “I found it amusing that I suddenly was
>‘in’ again. The music press was writing nice things
>about me and I felt a mixture of bemusement and, well,
>an ego boost.
>
>“I’m not particularly cynical but I hadn’t made this
>album for anyone but myself.
>
>“We had all been buzzing off it but we didn’t know if
>there was an audience for it.” There certainly was —
>and Paul was on a roll. His next album release,
>Stanley Road in May 1995, shot in at No1. Has Paul
>ever felt pressure to live up to the acclaim of Wild
>Wood and Stanley Road with the albums that followed?
>
>paul weller
>
>He tells me: “Every album is important to me — good or
>bad.
>
>“My songs are my children and sometimes you make a
>record and it connects with people like Wild Wood
>really did.”
>
>The deluxe version includes original album tracks and
>B-sides.
>
>“It also has unreleased tracks and covers, some of
>which Paul never intended to go on any album including
>his cover of I’m Only Dreaming by Small Faces and
>Black Sheep Boy by Tim Hardin.
>
>He says: “I’m Only Dreaming is just a demo really.
>It’s just us getting pissed in the studio and having
>fun — now it’s on the album for all the world to hear!
>I don’t mind though. It captures the mood in which the
>album was made.
>
>“With Tim Hardin, he was someone I got into in the
>early Nineties. I really opened up to different music
>and stopped being so blinkered.”
>
>Paul says he is a big fan of other singer-songwriters
>these days. “I like James Morrison, I love his voice
>and Paolo Nutini, I think he’s great.
>
>“I just did a single with Gabrielle who I’ve worked
>with before. She’s such a lovely person. I’m up for
>working with anyone. If they’ve got something to say
>or anything positive to put forward then I’m up for
>working with them.
>
>“I sang with Amy Winehouse a while back. She’s top.
>I’d love to work with her again.”
>
>Despite the recent trend for reunions, a return for
>The Jam, or performing with bassist Bruce Foxton and
>drummer Rick Buckler, is not on the cards.
>
>Paul’s former bandmates have just started touring
>together for the first time in 25 years under the name
>From The Jam.
>
>In his statement when the band split in 1982, Paul,
>then aged 24, said: “I’d hate us to end up old and
>embarrassing like so many other groups.”
>
>And he stands by those words today. He says: “I just
>think certain things are best left as they are so you
>have a sweet taste in your mouth and a good memory.
>
>“If you’re a good musician you have to move along and
>do something else.
>
>Powered
>
>“I’m not into this revival thing at all. Why is
>everyone reforming? I’m not talking about anyone in
>particular but they should just move on.
>
>“I don’t want to get caught up in a war with anyone
>but some things are best left.”
>
>the jam
>
>For now Paul is just looking to the future.
>
>He recently had a book called Suburban 100 published.
>It contains Paul’s lyrics and notes, with the cover
>artwork done by legendary pop artist Peter Blake, who
>did the cover art for Stanley Road.
>
>He says: “I was encouraged do it by John Wilson who
>edited it. It’s like a book of poetry and it’s there
>if you want it — just a little thing out in the world.”
>
>After suffering with writer’s block four years ago, he
>is in one of his most creative periods and has written
>and recorded 18 tracks for his new album, which he
>hopes will be out in Spring 2008.
>
>“I want it to be a double album and we’re writing and
>recording as much as we can. I want to make it the
>best album I’ve ever done.
>
>“I’m really proud of what we’ve done so far — it’s
>really different. Do you want a listen? I’ll play you
>a track. It’s f*****g top!”
>
>And as he plays me Light Nights, an amazing,
>pyschedelic, folky guitar track, powered by his
>trademark impassioned vocals, there’s no doubt that
>his genius shows no sign of diminishing.
>
>While this retrospective release may add some colour
>to the past, there’s no doubt there are masterpieces
>to come in the future.
[ Edit | View ]
[>
quality release...good to hear the crossover between the first album and wildwood in the demo versions -- internationalist, 10:37:22 10/25/07 Thu
>After fronting mod rock legends The Jam in the
>Seventies and The Style Council in the Eighties, Wild
>Wood allowed Weller to make his mark in the Nineties
>
>Now, 14 years after its release, a special deluxe
>edition — backed with demos, radio sessions, and
>remixes — is out on October 29.
>
>Still sounding as relevant and as good as the first
>time around, it’s an album that warrants the term
>“masterpiece”.
>
>And an upbeat Paul tells me: “Without blowing my own
>trumpet it’s a mark of a good song if it stands the
>test of time. And I think the songs on Wild Wood do. I
>think it caught the mood of the time for a lot of
>people.”
>
>Creative
>
>As I talk to The Mod-father at his Surrey studio where
>he is making his ninth solo album, he is caught
>between excitement for his new songs and immense pride
>in the album that set his solo career on the right
>track.
>
>“It was just the right time for Wild Wood. Everything
>was on the up. I was going through a really creative
>time and most of the tunes and demos are on the deluxe
>edition.
>
>“We had just finished the first solo album when we
>started demo-ing for the second — Wild Wood. It was a
>real purple patch.
>
>“I felt really positive — songs were flowing, the vibe
>was good between the musicians, me and Brendan Lynch,
>the producer.”
>
>the jam
>
>The end of The Style Council had marked the most
>difficult period in Paul’s career. But returning with
>his self-titled first solo album and then Wild Wood
>was crucial for him.
>
>He explains: “It had been a pretty s**t time for me.
>Wild Wood was so important because I was just finding
>my confidence again. I’d rediscovered my love of the
>guitar and tracks like Shadow Of The Sun were really
>free and jamming.
>
>“It was quick to record because all the songs were in
>place — it was a pivotal moment for me. You could tell
>there was a new excitement in the air. It was like,
>‘OK we’re back and we’re going to have it again’.”
>
>Listening to the demo versions on the deluxe version
>takes Paul right back to the time they were recorded.
>
>He says: “They sound really fresh and I can’t believe
>how much time has elapsed — it could have been
>yesterday. It doesn’t feel like 14 years. The demos
>are from 1992 and 93 — it’s f*****g mental, it’s so
>long ago. A good song will last, no matter when it was
>written.”
>
>Paul is proud of every track on Wild Wood but there
>are a few that are really special to him.
>
>“Shadows Of The Sun will always mean something to me.
>When we played that at Glastonbury in 1994, it was
>pretty amazing — a really transcendental moment.
>
>“Sunflower is always great and Wild Wood, the title
>track, is definitely another one. Whenever we play
>that one, it drops for everyone.” Paul found himself
>the darling of the music world again when Wild Wood
>was released in September 1993. It went straight to
>No2 in the charts and he was back playing sold-out
>shows at huge venues.
>
>Paul says: “I found it amusing that I suddenly was
>‘in’ again. The music press was writing nice things
>about me and I felt a mixture of bemusement and, well,
>an ego boost.
>
>“I’m not particularly cynical but I hadn’t made this
>album for anyone but myself.
>
>“We had all been buzzing off it but we didn’t know if
>there was an audience for it.” There certainly was —
>and Paul was on a roll. His next album release,
>Stanley Road in May 1995, shot in at No1. Has Paul
>ever felt pressure to live up to the acclaim of Wild
>Wood and Stanley Road with the albums that followed?
>
>paul weller
>
>He tells me: “Every album is important to me — good or
>bad.
>
>“My songs are my children and sometimes you make a
>record and it connects with people like Wild Wood
>really did.”
>
>The deluxe version includes original album tracks and
>B-sides.
>
>“It also has unreleased tracks and covers, some of
>which Paul never intended to go on any album including
>his cover of I’m Only Dreaming by Small Faces and
>Black Sheep Boy by Tim Hardin.
>
>He says: “I’m Only Dreaming is just a demo really.
>It’s just us getting pissed in the studio and having
>fun — now it’s on the album for all the world to hear!
>I don’t mind though. It captures the mood in which the
>album was made.
>
>“With Tim Hardin, he was someone I got into in the
>early Nineties. I really opened up to different music
>and stopped being so blinkered.”
>
>Paul says he is a big fan of other singer-songwriters
>these days. “I like James Morrison, I love his voice
>and Paolo Nutini, I think he’s great.
>
>“I just did a single with Gabrielle who I’ve worked
>with before. She’s such a lovely person. I’m up for
>working with anyone. If they’ve got something to say
>or anything positive to put forward then I’m up for
>working with them.
>
>“I sang with Amy Winehouse a while back. She’s top.
>I’d love to work with her again.”
>
>Despite the recent trend for reunions, a return for
>The Jam, or performing with bassist Bruce Foxton and
>drummer Rick Buckler, is not on the cards.
>
>Paul’s former bandmates have just started touring
>together for the first time in 25 years under the name
>From The Jam.
>
>In his statement when the band split in 1982, Paul,
>then aged 24, said: “I’d hate us to end up old and
>embarrassing like so many other groups.”
>
>And he stands by those words today. He says: “I just
>think certain things are best left as they are so you
>have a sweet taste in your mouth and a good memory.
>
>“If you’re a good musician you have to move along and
>do something else.
>
>Powered
>
>“I’m not into this revival thing at all. Why is
>everyone reforming? I’m not talking about anyone in
>particular but they should just move on.
>
>“I don’t want to get caught up in a war with anyone
>but some things are best left.”
>
>the jam
>
>For now Paul is just looking to the future.
>
>He recently had a book called Suburban 100 published.
>It contains Paul’s lyrics and notes, with the cover
>artwork done by legendary pop artist Peter Blake, who
>did the cover art for Stanley Road.
>
>He says: “I was encouraged do it by John Wilson who
>edited it. It’s like a book of poetry and it’s there
>if you want it — just a little thing out in the world.”
>
>After suffering with writer’s block four years ago, he
>is in one of his most creative periods and has written
>and recorded 18 tracks for his new album, which he
>hopes will be out in Spring 2008.
>
>“I want it to be a double album and we’re writing and
>recording as much as we can. I want to make it the
>best album I’ve ever done.
>
>“I’m really proud of what we’ve done so far — it’s
>really different. Do you want a listen? I’ll play you
>a track. It’s f*****g top!”
>
>And as he plays me Light Nights, an amazing,
>pyschedelic, folky guitar track, powered by his
>trademark impassioned vocals, there’s no doubt that
>his genius shows no sign of diminishing.
>
>While this retrospective release may add some colour
>to the past, there’s no doubt there are masterpieces
>to come in the future.
|
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