20/10/2018
Paul Weller, often hailed as England’s greatest living singer-songwriter, has carved out a unique and perpetually evolving path in the annals of British music. From the fervent energy of The Jam to the sophisticated grooves of The Style Council and his prolific, introspective solo career, Weller’s journey is a testament to an artist defined by constant change, unwavering self-belief, and an insatiable creative drive. His recent book, 'Magic: A Journal of Song', offers revealing glimpses into the moods, motives, and manoeuvres that have shaped five decades of his artistry, confirming his status as a true icon of reinvention.
His story begins in Woking, a Surrey satellite town, where he cultivated his early passion for music, mimicking the sounds of The Kinks and his beloved Beatles. This foundational period eventually led to the formation of The Jam, a band that would swiftly become a cornerstone of the burgeoning punk and mod revival scenes. It was a crucial moment in his nascent career when, at the tender age of 18, Paul Weller and The Jam officially signed with Polydor in 1977. This pivotal deal set the stage for their rapid ascent, transforming them from local Woking heroes into national sensations.
The Jam: A Blast of Mod Revival Energy
The Jam’s early days were marked by raw ambition and a distinctive sound. While Weller himself candidly admits that their first two albums weren't 'great', they were foundational. It was with their third LP, 'All Mod Cons', released in 1978, that Weller truly found his voice as a songwriter. Tracks like 'Down in the Tube Station at Midnight', 'To Be Someone', and 'In the Crowd' showcased a lyrical maturity and observational prowess that transcended typical punk tropes. Weller, hailing from the 'unflashy peripheries' of London, brought a useful outsider's perspective to his work, often weaving themes of individualism and social commentary into his songs. 'The Eton Rifles', for instance, humorously yet incisively poked fun at both sides of the English class system, though his allegiance was clear.
The band’s success peaked with 'Going Underground', their first number one single, which Weller described as the 'epitome of the recognisable Jam sound'. Yet, true to his nature, Weller instinctively knew when it was time for a change. Despite The Jam being at the zenith of their powers, he made the audacious decision to disband them in 1982. This move, which baffled and hurt his bandmates Rick Buckler and Bruce Foxton, and even drew disbelief from his father and manager John, was driven by Weller’s rigid doctrine that 'anyone over 25 had had it'. He sought new artistic horizons, unwilling to be confined by past glories or the expectations of a rapidly growing, sometimes violent, fanbase that he felt was losing sight of the band's original message.
The Style Council: A Sophisticated Soulful Departure
The transition from The Jam was swift and decisive. Weller almost immediately formed The Style Council, a project designed as a 'fluid modern soul vehicle'. This era saw a dramatic shift in his musical palette, moving away from the rock influences of The Who and The Small Faces towards the 'quiet anger' of Nina Simone and Curtis Mayfield. The Style Council embraced a diverse range of genres, including bossa nova, samba, chanson, spoken word, and even early house music, showcasing Weller's adventurous spirit and his desire to 'confound people'.
Alongside the more accessible pop sounds, Weller’s songwriting became overtly political, reflecting the challenging socio-economic landscape of 1980s Britain. Songs like 'Walls Come Tumbling Down', 'The Lodgers', and 'A Stone’s Throw Away' championed causes like CND and the pro-Labour Red Wedge campaign. However, this period of overt political messaging in his music was eventually shed, as Weller's creative manifesto continued to evolve. Despite starting strongly, The Style Council eventually found themselves 'out on a limb', and Weller conceded that 'humility was an art I hadn’t really learned at that time'. Another reinvention was on the horizon.
The Solo Years: From Skint to Modfather
The beginning of Weller’s solo career in 1990 was far from glamorous. His father informed him that 'Weller Inc' was 'skint', necessitating a tour to make money. This led to him playing small clubs across Europe to as few as 30 punters – a stark contrast to the arena-filling days of The Jam. 'It was very weird to have all that success, then to think you’ve got to start again. I hated that tour. But I got through it,' he reflects. This period of rebuilding, self-financed and lacking initial confidence, forced him to confront his identity as an artist. He struggled with songwriting, feeling 'confused' sitting with a guitar after relying on computers and sequencers. The dual milestones of turning 30 and becoming a father for the first time also brought a profound sense of introspection and nostalgia, feelings that began to permeate his new material.
His resurgence truly began with 'Wild Wood', his second solo record, released in 1993. This album was a sonic departure, infused with a bucolic, soulful quality, heavily influenced by artists like Van Morrison, Traffic, and Steve Winwood. Weller’s voice, while retaining its familiar brittle snap, gained new colours – a bluesy rasp, a soulful shout, and a quiet tenderness that revealed a more vulnerable side. This newfound depth resonated deeply with audiences and critics alike.
The success of 'Wild Wood' was followed by the monumental 'Stanley Road' in 1995, an album that cemented Weller’s status as the spiritual Modfather of Britpop. While he appreciated the energy of the Britpop movement – 'I loved Oasis and Blur, I loved the Britishness of it, it was a real generational moment' – he didn't relish another intense bout with fame. 'I wasn’t sure I wanted to be that popular again,' he writes, expressing a disdain for the 'hypocrisy' that often accompanied such widespread attention.
The Changingman and the ELO Riff Controversy
The theme of constant change is so central to Weller’s artistic identity that it became the title of one of his most iconic solo tracks: 'The Changingman', from 'Stanley Road'. This song perfectly encapsulates his relentless need for reinvention and the various forms his music has taken over the years. However, 'The Changingman' also holds a unique place in Weller's discography due to a notable controversy.
Eagle-eared listeners quickly recognised that the distinctive opening riff of 'The Changingman' bore an 'irrefutably identical' resemblance to the guitar riff from Electric Light Orchestra’s (ELO) 1971 debut single, '10538 Overture'. This raised eyebrows, especially given Weller's punk pedigree, as the punk movement famously railed against the perceived excesses and complexity of progressive rock bands like ELO. The situation could have led to a costly legal battle for Weller, but it was revealed that the track's producer, Brendan Lynch, was responsible for 'sampling' the ELO riff without seeking permission from Jeff Lynne or the band. Lynch reportedly agreed that any settlement would come from his share of royalties, not Weller’s. Weller himself has distanced himself from the decision, stating, 'I think the riff was Brendan’s idea, because he was using lots of samples and did a montage thing and out of that came the tune. I had the melody and some lyrics already written and we put the two together.' Interestingly, despite the clear similarities, there has never been any public legal recourse over the sample, and the songwriting credits officially remain with Paul Weller and Brendan Lynch.
Personal Struggles and Enduring Creativity
The period following 'Stanley Road' saw Weller grappling with personal demons. Hanging out with the Britpop 'bad boys' eventually lost its appeal, and the 'booze and blow', as he puts it, began to impinge on his creativity, leading to a period where his music felt 'safe and stodgy'. This sustained problem drinking came to an abrupt halt on July 1, 2010. 'I woke up one morning... and just knew that this had to stop. I didn’t go to rehab. I just stopped,' he reveals. This act of sobriety coincided with a profound creative resurgence, which had actually begun two years prior with '22 Dreams' (2008), an album recorded on the cusp of his 50th birthday. '22 Dreams' gave him the confidence 'to be self-indulgent all the time', ushering in a slew of innovative and eclectic albums, including the acoustic orchestrations of 'True Meanings' and 2021’s 'Fat Pop'.
Beyond his musical output, Weller's personal life has also shaped his artistry. A romantic at heart, as evidenced by ballads like 'English Rose' (written while homesick on a US tour) and the universally popular 'You Do Something To Me', he has drawn extensively from his experiences. With eight children from four relationships and married to Hannah Andrews since 2010, his songs often reflect the complexities of love, home, and family.
Paul Weller's Musical Eras: A Comparison
To better understand Paul Weller's remarkable journey, here's a brief comparison of the core characteristics of his main musical phases:
| Era | Key Characteristics | Primary Influences | Defining Ethos |
|---|---|---|---|
| The Jam (1972-1982) | Raw energy, mod-punk sound, sharp social commentary, melodic aggression | The Kinks, The Beatles, 60s Mod, Punk | Youthful rebellion, individualism, urban angst |
| The Style Council (1983-1989) | Sophisticated soul, jazz, funk, bossa nova, pop, overt political lyrics | Nina Simone, Curtis Mayfield, European jazz, Acid Jazz | Musical exploration, political engagement, stylistic flair |
| Solo Career (1990-Present) | Eclectic, introspective, folk, soul, rock, experimental, deeply personal lyrics | Van Morrison, Traffic, Steve Winwood, diverse contemporary sounds | Self-reinvention, resilience, maturity, creative freedom |
Frequently Asked Questions About Paul Weller
When did The Jam sign with Polydor?
The Jam, with Paul Weller as their frontman, signed with Polydor in 1977, when Weller was 18 years old.
Why did Paul Weller end The Jam at their peak?
Paul Weller ended The Jam in 1982, despite their immense popularity, driven by his belief that 'anyone over 25 had had it'. He felt the band had achieved all it could within its defined sound and sought new creative avenues, unwilling to be creatively stagnant or confined by audience expectations.
What influenced The Style Council's sound?
The Style Council's sound was heavily influenced by soul and R&B artists like Nina Simone and Curtis Mayfield, as well as genres such as bossa nova, samba, chanson, and early house music. It marked a distinct departure from The Jam's mod-punk roots.
Did Paul Weller really borrow a riff from ELO?
Yes, the opening guitar riff of Paul Weller's solo song 'The Changingman' is 'irrefutably identical' to that of Electric Light Orchestra’s '10538 Overture'. However, Weller has stated that the idea for the riff came from his producer, Brendan Lynch, who incorporated it as a 'sample' without his direct involvement in the decision to use it.
What is Paul Weller doing now?
As of 2023, Paul Weller is in a creatively and personally strong place. He continues to release innovative and eclectic albums, such as 'Fat Pop' (2021), and remains an active live performer. He describes himself as 'calmed down and grown up', and 'happy in my own skin', while still possessing the intensity and restlessness that have defined his career.
At 65, Paul Weller stands as one of rock’s grand masters, still restless but more reflective, still challenging perceptions, and still producing vital, compelling music. His journey, as chronicled in 'Magic: A Journal of Song', is a powerful narrative of an artist who has consistently prioritised artistic integrity and evolution over commercial comfort. He remains, above all, a music fan and an obsessive creator, a true 'Changingman' whose influence continues to ripple through generations of British artists.
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