Posts Tagged ‘Mick Talbot’

When Paul Weller announced the Style Council’s arrival in march 1983, he’d come a very long way. in fact, at the age of just 24, he was already a musical veteran with six albums and nine top 10 singles under his belt with the Jam. as their leader he had become a deity-like figure and for his fans, the Jam’s split was unimaginable. but creatively restless and of inquisitive mind, Paul jettisoned them at their height to form a collective with an eventual core line-up of Paul with Mick Talbot, Dee C Lee and Steve White. in a quest for new sounds, the group travelled to realms previously unchartered for a pop group incorporating musical influences as wide ranging as Blue Note jazz and Chicago soul, Claude Debussy and Erik Satie, Chicago House and Jacques Brel.

At the same time, as battle lines were drawn in a decade under Margaret Thatcher culminating in the miner’s strike of 1984-85, Paul’s lyrics spoke with the language of the activist and his state of the nation addresses were both fierce and eloquent. over four albums and 17 singles, The Style Council made a stand and became the standard bearers of progressive soulful pop and social comment. The Style Council was emblematic of its creator. Paul Weller, smart, fearless, audacious, with a social conscience and totally unafraid to push the possibilities of pop. this is their story… “we set out to have fun, document the times and at the same time we wanted to elevate pop to an art form – I think we did that.” Paul Weller

Ahead of a forthcoming documentary on the second famed band of Paul Weller’s career, the revered British rocker has co-compiled a new collection devoted to The Style Council.

Long Hot Summers: The Story of The Style Council provides an extensive overview of Weller’s work through the ’80s after the dissolution of The Jam. The 37-track collection, available across 2 CDs or 3 LPs, includes a healthy mix of the group’s biggest singles, album cuts, B-sides and two unreleased tracks: an extended version of 1984’s “Dropping Bombs On The Whitehouse” and a string-laden demo of the band’s biggest worldwide hit, “My Ever Changing Moods.”

Working with Dexys Midnight Runners keyboardist Mick Talbot, drummer Steve White and vocalist Dee C. Lee, Weller’s work in The Style Council largely eschewed the punk leanings of The Jam for more overt New Wave, slick soul and sophisti-pop influences. But Weller’s signature song writing was still at the helm – as well as a growing political bent. (Along with Billy Bragg and Jimmy Somerville, Weller was active in Red Wedge, a collective of Labour-sympathetic musicians working to drum up support against England’s prime minister Margaret Thatcher.

The group earned three straight gold records in England with 1984’s Café Bleu (released in America as My Ever Changing Moods – the title track of which became a U.S. Top 40 hit), 1985’s chart-topping Our Favourite Shop and 1987’s The Cost Of Loving. The latter’s mixed critical reception was followed by the experimental Confessions Of a Pop Group (1988); the following year’s Modernism: A New Decade was rejected by Polydor Records, after which Weller called the group off for a solo career.

Long Hot Summers will be available from UMC October 30th – the same day a new documentary about The Style Council, featuring interviews with Weller, Talbot, White and Lee, will premiere on Sky Arts in England. The compilation, remastered at Abbey Road Studios, features new notes by Weller, essayist Lois Wilson, and actor Martin Freeman (star of Peter Jackson’s The Hobbit trilogy and the U.K. version of The Office), a professed “superfan” of the group.



The latest album from the veteran singer-songwriter and style icon is an eclectic mix of electronica, psychedelia, pop, balladry and orchestral music. On the album, Paul Weller is aided by his regular cohorts Ben Gordelier, Andy Croft’s and Steve Cradock as well as his old Style Council partner, Mick Talbot, who contributes his Hammond organ mastery to three songs. Singer songwriter Hannah Peel did the string arrangements for the album, and The Paraorchestra perform on four tracks. In addition, other guests perform on individual songs. The album opens with the experimental “Mirror Ball,” a track recorded during the sessions for True Meanings, Weller’s previous studio album. It sounds like bits of different songs pieced together but is quite effective. It is followed by “Baptiste,” a smooth and soulful tune with a strong vocal by Weller. The strings and organ add a great deal to it.

Some of the tracks on the album have Weller looking back on the past with the wisdom and insight of his six decades. “Old Father Tyme” is one of those songs. It’s quite delightful, and Weller sounds like he’s having a blast singing it. The title track is another of the songs that takes a glance to the past. Weller was inspired to write the song when visiting his son in Los Angeles and spending some time on Sunset Boulevard, where he had stayed when he first came to the City of Angels in 1977 on The Jam’s first American tour. It’s an easy going song that flows quite nicely. “More” is something of an off -kilter track that features a verse sung by the French singer Julie Gros of the band Le Superhomard as well as guitar work from Josh McClorey from Irish rockers The Strypes. The strings, flute and horns add lushness to it.

The jaunty “Equanimity” sounds like it could be a Madness song. It includes a measured vocal by Weller and violin by Jim Lea, formerly of Slade. The album’s lead single, “Earth Beat,” looks forward and not to the past. The American singer Coltrane, who Weller met through his daughter, is a guest vocalist on the track. On Sunset is a solid and fascinating piece of work, particularly for an artist 43 years into his recording career. Weller has delivered an interesting and enjoyable album with quite a few standout tracks.

Paul Weller shows few signs of slowing down, fewer still of resorting to lazy repetition. A staggering 43 years since The Jam‘s In The City heralded the beginning of a career that now spans 15 widely diverse solo albums, he retains a restlessness that has seen recent outings make forays into acoustic folk, krautrock, exploratory electronica and music concrete.

Yet a new unlikely theme is beginning to cement itself in Weller’s work, one of mindful domestic contentment. On Sunset witnesses a man who has over the past decade given up the booze and drugs casting a misty eye over one of the most illustrious and varied careers in the British music history. Reflections on his past aren’t new to the 62-year-old, of course. There was much of that on the sonically varied pairing of Saturns Pattern and A Kind Revolution and 2018’s acoustic folk collection True Meanings. What is new is how irrepressibly upbeat, at peace and downright happy the famously spiky one-time king of mod sounds here.

“A lot of the lyrics are about looking back, from the point of view of a 60-something man, not with regret or sadness, but with huge optimism,” Weller explains.

Opening track Mirror Ball has a hopelessly romantic sentiment. It’s Weller’s ode to the timeless joy of the dancefloor, from 1920s ballrooms through Wigan Casino and the Twisted Wheel to present-day techno clubs. It also underlines emphatically Weller’s commitment to experimentation across nearly eight minutes, with a full minute of ambient instrumental sound-scaping housed in its mid-section.

Originally destined to be a B-side for True Meanings, Weller included the song here after friends advised him it was too strong to be thrown away. His weathered voice resembles, not for the last time on this record, David Bowie’s as pulsing synths and a snatch of Spanish guitar open out into a shimmering disco groove, with a devilish octaved guitar riff making ostentatious interjections.

There are more familiar moments to be found, with “soulful” the predominant mood. Several of the songs on Weller’s 15th solo album were written with a diverse set of singers in mind – notably Bobby Womack and Pharrell Williams.

On Baptiste, a song Weller calls “a celebration of soul music’s universality” the inspiration is Bobby Bland. The New Orleans-style stomp positively glows with analogue warmth, Weller and Steve Cradock’s rootsy playing backed up by parping horns as the singer emotes “from the mountains high to the valleys low”.

Across On Sunset‘s 10 tracks, the palette is fuller and more colourful than on True Meanings – Games Of Thrones composer Hannah Peel’s orchestrations melding with Weller’s regular sidemen Cradock, bassist Andy Crofts, Tom Van Heel on keys and drummer and additional guitarist Steve Pilgrim. Indie-folk trio The Staves also contribute backing vocals.

On Old Father Tyme, the air is thick with nostalgia and fond reflection. “Time will become you, you will become time,” Weller acknowledges, piano chords, horns and acoustic guitar fusing with electronic percussion and gurgling synth textures, Weller at once glancing in his rear-view mirror and striding into the future.

Style Council mate Mick Talbot adds Hammond organ to the wistful Village, co-written with producer Jan ‘Stan’ Kybert. With an ample dose of wah in the mix, Weller brims with contentment, “heaven in my sights”, recognising that utopia can be the people and places closest to home. He sighs blithely, “Not a thing I’d change if I could/ I’m happy here in my neighbourhood.” It is ever so slightly cloying.

The silky tones of French singer Julie Gros from space-pop touring partners Le Superhomard are a pleasing counterpart to Weller’s oaky timbre on the lovely, cinematic More, the sweeping strings adding drama to an arrangement that sparkles with flute, sax and Weller and Cradock’s darting guitar runs. Lyrically, it’s a rare deviation from the convivial mood, Weller critiquing avaricious consumer culture before cutting loose on a wanton solo in the final moments.

The jaunty music hall of Equanimity is the most eye-opening moment. In Weller’s words, it’s “a bit Berlin cabaret, a bit Bonzo Dog Doo Dah Band” if that’s something you can imagine, Slade’s Jim Lea contributing a sweet violin solo. Town Called Malice it ain’t.

Just as far out of Weller’s existing wheelhouse is the future-gazing funk of Earth Beat. His admirable appetite to remain current sees emerging British R&B artist Col3trane adding his hushed vocals to an upbeat electro-pop romp co-written with Jim Jupp, founder of Ghost Box Records.

On Sunset‘s high point, though, is the closing Rockets, a Bowie-esque acoustic ballad with strings and sax rising tastefully into the picture, and a stately Weller reminding us he maintains some punk fury as he rails against social injustice, poverty and corrupt power structures. “All our lives, the system all decides/ The institutions old but still in control,” he rages. It’s really rather beautiful, an affecting end that shows Weller wearing his 62 years well.

Yet it’s notable that amid all the reflective serenity and happiness this impressively multifarious album is bathed in, it’s when Paul Weller gets angry again that On Sunset is most incisive.

The bonus tracks for the deluxe CD edition of Paul Weller‘s new album On Sunset have been confirmed. The deluxe CD (which comes in hardcover book packaging rather than jewel case) will actually have FIVE bonus tracks, not three as originally thought. That takes the track count from 10 to 15. The songs are as follows: 4th Dimension, Ploughman, I’ll think of Something, On Sunset (Orchestral mix), Baptiste (instrumental version)

The Japanese version of the deluxe CD is a 16-track edition. It features the five tracks above, plus a Japan-only bonus track called ‘Failed’.

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The Style Council formed Woking in 1983 by Paul Weller  the former singer, songwriter, and guitarist with the rock/new wave band The Jam following the break up Weller and keyboardist Mick Talbot, previously of Dexys Midnight Runners and Merton Parkas,  The line-up also included drummer Steve White and Weller’s then-wife, vocalist Dee C. Lee. Other vocalists such as Tracie Young, Tracey Thorn (Everything but the Girl), and later drummer/percussionist Steve Sidelnyk They released 6 albums and had 19 hit singles before disbanding in 1989.

The band showed a diversity of musical styles. Singles like “Speak Like a Child” (with its loud soul-influenced style), the extended funk of “Money-Go-Round”, and the synth-ballad “Long Hot Summer” all featured Talbot’s  keyboards and organ. Near the end of 1983, these songs were compiled on Introducing The Style Council, a mini-album initially released in Japan, the Netherlands, Canada, and the US only.

In their lyrics, The Style Council took a more overtly political approach than The Jam, with tracks such as “Walls Come Tumbling Down!”, “The Lodgers” and “Come To Milton Keynes” being deliberate attacks on ‘middle England’ and the Thatcherite policies of the UK government during the 1980s. In 1985, Weller was persuaded by Billy Bragg to let the Style Council play a leading role in Red Wedge, a youth-oriented political campaign associated with the British Labour Party.

The Style Council

A1: Money Go Round
B1: Headstart For Happiness
B2: Mick’s Up

Style Council debut Money-Go-Round released 1983 UK 3-track 12″ vinyl single, also including the acoustic version of Headstart For Happiness and Mick’s Up, glossy flipback picture sleeve TSCX2) Money Go Round was available on 7” with a picture insert and for the first time a 12” (with 2 extra tracks) The 7” Cover of a coffee machine from Linda’s Cafe on Edgware Road, around the corner from the studio, which the band frequented.

à Paris

A1: Long Hot Summer (Extended Version)
B1: Party Chambers
B2: The Paris Match
B3: Le Départ

Long Hot Summer” was a song by the English band The Style Council which was their third single to be released, composed by lead singer Paul Weller, recorded between 12th and 17th June 1983 in the Grande Armée Studios in Paris, and released on 8th August 1983. In addition to being sold as a conventional two track 7″ single, “Long Hot Summer” was also simultaneously released as a four track 7″ and 12″ EP titled Á Paris which also contained the song “The Paris Match” plus two keyboard instrumentals, “Party Chambers” and “Le Depart”. It was also included on the 1983 mini-album “Introducing The Style Council”.

Mick Talbot, Style Council: I met Paul in ’79. I was in a band called The Merton Parkas. There was talk of Paul producing us but that never happened. By the time he contacted me in August ’82, saying he was going to wrap up The Jam, I hadn’t seen him for quite a while. But he already knew what he wanted to do and asked if I wanted to be involved. He was conscious of wanting to work outside the restrictions of a standard band line-up – to the point where there are quite a few early instrumental tracks on which Paul might not even be playing. He was overseeing things, more like a film director.

 á Paris – Again a different sleeve for each version. 7” was photographed at Place De La Concorde and 12” at The Trocadéro in Paris.

On “Long Hot Summer”, we wanted to combine very contemporary synth sounds with Hammonds and electric pianos. We were both into close-harmony groups and in our minds we’d have liked to have The Delfonics cover “Long Hot Summer”. The video was us punting down the Cam as if we were Cambridge dons, with echoes of Brideshead Revisited. Tim Pope was directing and said, “If you lie down I can get both your heads in shot,” so we were getting closer and closer and we thought it funny to stroke each others’ ears. There was a hoo-ha at the record company and the video was leaked to the press. Next thing you know, we’re both out the closet!. The song reached the position of number three in the UK singles chart making it the Style Council’s biggest hit, and it remains a staple of Paul Weller’s live concerts.

By coincidence the British summer heat wave of 1983, most notably July, turned out to be one of the hottest on record – something that would not have been known at the time the song was written and recorded.

My Ever Changing Moods

A1: My Ever Changing Moods (Long Version)
B1: Spring, Summer, Autumn
B2: Mick’s Company

My Ever Changing Moods” is a song by band The Style Council which was their fifth single to be released. It was composed by lead singer Paul Weller, recorded at Weller’s own studio Solid Bond Studios, and was released in 1984. It is the first single from the band’s début album, Café Bleu (1984), which was renamed My Ever Changing Moods in the United States to capitalise on the success of that single. A much needed breather after the claustrophobic funk of “Money Go Round”. In its place, a Smokey Robinson-inspired vocal, ersatz latin percussion and the arrival of the cycling shirt as the item du jour for the discerning Wellerphile. This is another delightful release. 2 absolutely stunning sleeves by Simon and intentional or otherwise none of them mention the tracks within or indeed that it had extras..

Steve White, Style Council/ Paul Weller band: Originally, it had a completely different feel. Paul and Mick had recorded an early version just with the piano. It was very melancholy. Then they performed it with Elvis Costello on a TV show, and had the idea to make it more lively. I suggested we make it feel more like War or Curtis Mayfield. Suddenly this song – very dark, lyrically – became very positive sounding and upbeat, more like an old soul record. In those days we did everything quickly – it didn’t matter if there were a few fluffed notes – it was all about the feel. Oddly, it was one of our few successes in America . Number 29, I believe! The cycling shirts? We were doing a lot of work in Italy at the time, and Paul saw these kids riding scooters wearing cycling shirts with jeans, and he thought he’d use it. A great look when you’re 18. As you get a little older, not so great!

Composed by lead singer Paul Weller, this song is a homage to Curtis Mayfield with overtones of nuclear threat. Weller told Mojo: “It started from the title. I thought, ‘What a great title, My Ever Changing Mood. But it’s about nuclear holocaust as well. ‘The hush before the silence, the winds after the blast’ and all that. I think it’s probably like a lot of songs I’ve done… they start of being about myself and then I get bored with it and I make it into something else.”

“My Ever Changing Moods”, backed with the Hammond organ instrumental “Mick’s Company”, peaked at No. 29 on the Billboard Hot 100 the week of June 9th, 1984, in the US. The song remains Weller’s greatest success in the US (including his efforts in The Jam and as a solo artist)


A1: You’re The Best Thing (Long Version)
A2: You’re The Dub Thing
B1: The Big Boss Groove

“Groovin”  – We better call it that but in essence You’re The Best Thing & The Big Boss Groove. The first double A sided single. Again we got different sleeves for both releases, the 7” being an inspiration from what?

STYLE COUNCIL Groovin’ (1984 UK 3-track 12″ vinyl EP, includes You’re The Best Thing Long Version & You’re The Dub Thing plus the non-album track The Big Boss Groove, housed in a glossy picture sleeve. TSCX6)

Shout to the Top!

A1: Shout To The Top
A2: Shout To The Top (Instrumental)
B1: The Piccadilly Trail
B2: Ghosts Of Dachau

Shout to the Top!” by the English band The Style Council which was their seventh single to be released, composed by lead singer Paul Weller, and was released in 1984. It appears on the Vision Quest soundtrack in the United States.

The song also appears on the deluxe edition of Our Favourite Shop (1985), and features in the film Billy Elliot (2000) and on its soundtrack. Paintings representing the 1984 miners strike feature in the video.

STYLE COUNCIL Shout To The Top (1984 UK 4-track 12″ vinyl EP, also including the Instrumental Version plus two superb non-album tracks: Ghosts Of Dachau and The Piccadilly Trail. TSCX7

Walls Come Tumbling Down!

A1: Walls Come Tumbling Down!
A2: Spin’ Drifting
B1: The Whole Point II
B2: Blood Sports

Walls Come Tumbling Down!” song by the English band The Style Council which was their ninth single to be released. It was composed by lead singer Paul Weller, and was released in 1985. It is the first single from the band’s second album, Our Favourite Shop (1985). Our Favourite Shop was renamed Internationalists for the U.S. market.

Mick gets his first solo sleeve, there’s been a few stories around of its origination & why it’s a calming contrast to the anger of the single. The song “Blood Sports”, which appeared on the single, is about anti-hunting and anti-animal blood sports. Its writing royalties went to the Bristol Defence Fund for two hunt saboteurs jailed for anti-blood sports activities. The first single from the forthcoming album Our Favourite Shop, which would topple Dire Straits and enter the chart at Number ONE

Billy Bragg: The first time I met Paul, we were doing a gig for the Young Socialists on a tiny stage on the South Bank, where the London Eye is now. It must have been 1984 . Later, he invited me to open for The Style Council on one of their early tours. The gigs weren’t dour and political at all, they were a celebration, like the Stax/Volt revue. The sensibility of using music to put across political ideas was one thing Paul carried over from The Jam. “Walls Comes Tumbling Down” best summed up what we were trying to do in the mid-’80s. All of us were very inspired by the civil rights-era in American soul music. The Paul I knew then was very political, supporting the likes of the Young Socialists and Youth CND. I thought it was worth trying to work with the Labour Party. I’d done a Jobs For Youth tour in early 1985 that was kind of like a dry run for Red Wedge. We started having meetings at their HQ in Elephant & Castle with the likes of Peter Mandelson, Charles Clarke and Patricia Hewitt. Paul was crucial – he was such as big star that people took us seriously. Paul’s presence drew the crowds, allowed us to play bigger venues and pulled in other artists, so his commitment was key. He had a broad audience – he was the only person to do Live Aid and Red Wedge.

STYLE COUNCIL Walls Come Tumbling Down! (1985 UK 4-track white label promotional vinyl 12″, also including Spin Drifting, The Whole Point II and Blood Sports. Housed in a custom stickered die cut sleeve, TSCX8

Come To Milton Keynes

A1: Come To Milton Keynes
A2: Our Favourite Shop (Club Mix)
B1: (When You) Call Me
B2: The Lodgers (Club Mix)

In an interview given at the time of the song’s release Paul Weller states that the song was inspired by the “Red Balloon” Milton Keynes advert which was produced on behalf of the Milton Keynes Development Corporation. “Come To Milton Keynes”. There were 3 releases for this single so I need to split the front & back sleeves. A single 7” sleeve, a gatefold 7” showing off the now famous shop and a 12”.

Paul Weller biographer John Reed argues in ‘Paul Weller: My Ever Changing Moods’ that: The song’s lyrics suggested a reality of drugs, violence, and ‘losing our way’ behind a façade of ‘luscious houses ‘ where the ‘curtains are drawn’, the idea being to create a musical pastiche which matched the supposed artificiality of Milton Keynes itself.”

The Lodgers

A1: The Lodgers (Extended Mix)
B1: The Big Boss Groove (Live)
B2: Move On Up (Live)
B3: You’re The Best Thing (Live)
B4: Money-Go-Round Medley (Live)

The Lodgers” also known by the full title “The Lodgers (Or She Was Only a Shopkeeper’s Daughter)” song by the English band The Style Council, which was their eleventh single to be released. It was composed by lead singer Paul Weller and keyboardist Mick Talbot, and was released in 1985. It is the third single from the band’s second album, Our Favourite Shop (1985). Our Favourite Shop was renamed Internationalists in the United States. The Lodgers, A totally new recording from the album version and badged as featuring Dee.C.Lee on the Sleeve for 7”/12” slightly remixed. There was also a double pack 7”

THE STYLE COUNCIL The Lodgers (1985 UK 5-track 12″ vinyl EP featuring a newly recorded version with Dee C. Lee, also includes live versions of The Big Boss Groove, Move On Up, You’re The Best Thing and the 3-track Medley of Money-Go-Round, Soul Deep & Strength Of Your Nature. Housed in a front laminated picture sleeve with double-sided photo insert. TSCX10

Have You Ever Had It Blue

A1: Have You Ever Had It Blue (Uncut Version)
B1: Have You Ever Had It Blue (Cut Version)
B2: Mr Cool’s Dream

“Have You Ever Had It Blue”. From the Absolute Beginners movie. The only single from 1986. On 7”, 12” 7” cassette pack , CD video single and an exclusive version on the official Soundtrack. The labels from the 7” and 12” and a nod to the book of the same name – Mr Cool’s Dream – “Cool” was a character in the book and movie. Now you know. The 7” cassette pack had a live track. There was a CD video single released, a high quality video of the time that played on a laserdisc only – it also contained the audio from the 12” release. Lastly, the soundtrack contained an exclusive mix, but is not described as such anywhere within. Worth tracking it down,

STYLE COUNCIL Have You Ever Had It Blue (1986 UK 3-track 12″ vinyl single, features Uncut Version, Cut Version and Mr Cool’s Dream, CINEX1

It Didn’t Matter

A1: It Didn’t Matter
B1: It Didn’t Matter (Instrumental)
B2: All Year Round

It Didn’t Matter” is a song by The Style Council which was their fifteenth single to be released. It was composed by lead singer Paul Weller, keyboardist Mick Talbot, and was released in 1987. The song was duetted by Weller and his then-wife Dee C. Lee. It is the first single from the band’s third album, The Cost of Loving, also known as the Orange album. Backed with “All Year Round”, it became a hit, peaking at No. 9 in the UK, and No. 48 in both Australia, and New Zealand. It has remained one of their most enduring hits.

It Didn’t Matter – 7” and 12” which came in 2 sleeves, Traditional and die cut. The Style Council Soared into the Top 10! A superb band cover photo. We have moved into 1987.

STYLE COUNCIL It Didn’t Matter (1987 UK 7″ vinyl single also including ‘All Year Round’, front-laminated flipback picture sleeve. TSC12


A1: Waiting (Vocal)
A2: Francoise (Vocal)
B1: Francoise (Theme From “JerUSAlem”)
B2: Waiting (Instrumental)

“Waiting” was the 2nd & final single from The Cost of Loving The tweets will sharply decline as the numbers buying it in 1987 were greatly reduced. Simon has introduced the shield logo seen on badges and socks at the General Election tour.


A1: Wanted
B1: The Cost
B2: The Cost Of Loving

“Wanted” or “Waiter, There’s Some Soup In My Flies” was the 3rd and final single of 1987 to meet their contractual obligations. Not from The Cost of Loving & not from the next album. A pop chart hit. This also came out as a CD & Cassette Single, The labels on the 7” and 12” the 12” from a Japanese show filmed in front of the houses of Parliament. So essential to have all 4 for the completist. for Wanted the 12” has a marvellous glossy colour internal sleeve. STYLE COUNCIL Wanted (1987 UK 3-track 7″ vinyl EP, also including The Cost Of Loving Vocal & Instrumental Versions. TSC14

Life At A Top Peoples Health Farm

A1: Spank!
A2: Life At A Top People’s Health Farm
B1: Life At A Top People’s Health Farm (Um And Argh Mix)
B2: Sweet Loving Ways

Life At A Top Peoples Health Farm. The first single of 1988 & from the forthcoming album. An Iconic sleeve, pic by Mick’s partner Shane on a 2 week trip abroad with Paul and Dee

1 2 3 4 EP A Summer Quartet (How She Threw It All Away) 

A1: How She Threw It All Away
A2: Love The First Time
B1: Long Hot Summer (Tom Mix)
B2: I Do Like To Be B-Side The A-Side

How She Threw It All Away the 2nd and final single from the album Confessions Of A Pop Group; classed as an EP “A Summer Quartet”

Promised Land

A1: Promised Land (Longer Version) (Juan Atkins Mix)
A2: Promised Land (Pianopella Version)
B1: Can You Still Love Me? (Dub)
B2: Can You Still Love Me? (Vocal)

The cover version of “Promised Land” (originally by Joe Smooth) was the only release which surfaced from the Modernism sessions. The Style Council released a cover of the song in 1989. Along with the track, “Can You Still Love Me”, “Promised Land” was the group’s only entry on the US dance chart, where it peaked at number nineteen

A1: Promised Land (Joe Smooth’s Alternative Club Mix)
B1: Can You Still Love Me (Club Vocal)
B2: Can You Still Love Me (12 O’Clock Dub)

Promised Land” is a 1987 single by American producer and DJ Joe Smooth. It is one of the most acclaimed house classics.

A1: Long Hot Summer 89 Mix (Extended Version)
B1: Everybody’s On The Run (Version One)
B2: Everybody’s On The Run (Version Two)



A: Sure Is Sure (Go Foward Mix)
B: Love Of The World (Free Love Mix)

In December 1984, Weller put together an ensemble called The Council Collective to make a charity record, “Soul Deep”, initially to raise money for striking miners during a long-running industrial dispute, and subsequently also for the family of David Wilkie. The track featured The Style Council and a number of other performers, notablyJimmy Ruffin andJunior Giscombe. In spite of the song’s political content, it received airplay on BBC Radio 1 and was performed by the group on Top of the Pops,as well as (live) on Channel 4’s The Tube.

Members Paul Weller / Mick Talbot / Dee C. Lee / Steve White

The Style Council broke up in 1989. About the breakup, Paul Weller said (in 1990): It’s something we should have done two or three years ago. We created some great music in our time, the effects of which won’t be appreciated for some time. All of The Style Council’s UK releases (including singles, 12″ maxis, albums, compact discs and re-issues thereof) featured the work of graphic designer Simon Halfon, who often collaborated with Weller to hone his ideas into a graphic form. Weller and Halfon began working together at the end of The Jam’s career, and continue to work together on Weller’s solo material.

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On 1st June a week before Roger Daltrey begins a tour where he’ll perform Tommy with an orchestra, the Who vocalist will release “As Long as I Have You”. This will be Daltrey’s first record  in four years since Going Back Home, his collaboration with Dr. Feelgood guitarist Wilko Johnson.

The album is a mixture of self-penned tracks such as ‘Certified Rose’ and the soulful ballad ‘Always Heading Home’ along with songs that have inspired Daltrey over the years including Nick Cave’s ‘Into My Arms’, ‘You Haven’t Done Nothing’ by Stevie Wonder, Stephen Stills’ ‘How Far’ and the title track originally recorded by Garnet Mimms in 1964; the year that Daltrey, Townshend, Entwistle and Moon changed their name from The High Numbers and became The Who.

It’s a return to his roots mixed with the wisdom that can only come with age. “This is a return to the very beginning, to the time before Pete [Townshend] started writing our songs to a time when we were a teenage band playing soul music to small crowds in church halls.

Daltrey said in a statement. “That’s what we were, a soul band,” he continued. “And now, I can sing soul with all the experience you need to sing it. Life puts the soul in. I’ve always sung from the heart but when you’re 19, you haven’t had the life experience with all its emotional trials and traumas that you have by the time you get to my age. You carry all the emotional bruises of life and when you sing these songs, those emotions are in your voice. You feel the pain of a lost love. You feel it and you sing it and that’s soul. For a long time, I’ve wanted to return to the simplicity of these songs, to show people my voice, a voice they won’t have heard before. It felt like the right time. It’s where I am, looking back to that time, looking across all those years but also being here, now, in the soulful moment”

Daltrey worked with a band that includes former Style Council keyboardist Mick Talbot and Sean Genockey on lead guitar. Townshend contributed guitar on seven tracks, and noted that the record “shows Roger at the height of his powers as a vocalist.” .

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