Posts Tagged ‘Saturns Pattern’

Image result for paul weller live at glastonbury

Paul Weller is nowhere near as musically conservative as some of his fans. The hits understandably get the biggest response – Changing Man, You Do Something To Me, That’s Entertainment, a slightly trudgy version of Start!, a sparkier take on A Town Called Malice that concludes the set – but the most intriguing stuff he plays is off his most recent album, Saturn’s Pattern: if it’s less fragmented and strange than its predecessor, Sonik Kicks, there’s still something exploratory and off-kilter about the piano-powered title track, and the dense, ominous psychedelia of opener White Sky.

As the Glastonbury 2015 festival draws to a close, the set by the Modfather, Mr Paul Weller, who takes the penultimate slot on the Pyramid stage with a set of songs from across his extensive solo back catalogue on the final evening

There’s a reason Paul Weller is so respected by his fans despite his shifts in musical styles over the years. Weller follows his heart and his tunes stay true to the times and his age. I first heard him in 1977, when I saw the band at Rebeccas nightclub in Birmingham , A few weeks laterI bought a 45 and later an album, each called “In The City”, by The Jam. Inspired by The Who, the music of The Jam was infused with urgency and melody. Then Weller wanted more from music and began The Style Council with a bit of R&B, ballads and even jazz. For nearly 25 years, Paul Weller has been recording under his own name. Now he has new songs for us all and an album called Saturns Pattern. Here at the Tiny Desk he brings this humble collection of songs acoustically and includes a tune from what may be his best known record, his 1995 album Stanley Road. It’s a pretty heartwarming moment  especially for longtime followers of his shifting but consistent quality music.

Set List

  • “Dusk Til Dawn”
  • “I’m Where I Should Be”
  • “Out of the Sinking”
  • “Going My Way”

Punk rock to new wave, British folk to deep funk, New York garage style to heavy soul; for over four decades Paul Weller has done it all. He’s fronted two bands: The Style Council and The Jam, and embarked on a long solo career that’s been every bit as inventive. His latest album is called Saturns Pattern (without the apostrophe for aesthetic reasons). The record is adventurous, tight and of course, it rocks.

In addition to his latest album, Weller has also released a book of photographs taken by Lawrence Watson; the book is called Into Tomorrownamed after his 1992 album. The photos follow Weller through his 20 year solo career, with hand-written captions.

Today the man known to British rock fans worldwide as The Modfather talks about how and when you realize you’ve written a great song; how kids today (specifically his own—he has seven) don’t appreciate really loud music; and threatens host John Schaefer with a fashion makeover.

Paul Weller says he’s written three perfect songs in his career:

“Wings of Speed” from Stanley Road“Strange Town” with The Jam:”Going My Way” on Saturns Pattern

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Paul Weller has, by and large, managed to keep me interested and attuned to what he does during his now 24-year solo career.  Like his previous two musical lives, its had its ups and downs, but he roared back, louder and harder than before with this year’s Saturns Pattern, itself a leap forward from the groundbreaking Sonik Kicks.  A new label, a greater American audience than before and a tour  with a performances that have left me in joyful tears these were Paul Weller’s most energetic and career-spanning shows I’ve seen .

Another stand out track from PAUL WELLER’S unanimously critically acclaimed recent album “Saturns Pattern” the track “I’m Where I Should Be” will released as a single on September 25TH.

“I’m Where I Should Be” finds Weller in a reflective mood, explaining: “It’s probably just me saying I’m happy with my place in the world. I don’t really crave much more. It’s only taken me 55 years to get there. Even in a much bigger way, my place in the universe”

“I’m Where I Should Be” is released as a two-track download, with the extra track being a brand new song “Open Road” plus a vinyl 7” single with “Open Road” on the flipside.

The single will also be released as a special bundle via Weller’s site which includes the single on 7″ vinyl as above, plus a download of both tracks, an art print and a sticker.

Just ahead of his upcoming west coast tour, Paul Weller and band have just confirmed a live performance of the title track from the new album, “Saturns Pattern,” live on CONAN on Monday October 5th, During 2015 Weller has been touring nearly non-stop since his last US visit this past June plus a short tour of the UK follows.

Former frontman of the Jam and the Style Council Paul Weller plays the BBC Radio Theatre for Radio 2 In Concert in front of an intimate crowd, hosted by Jo Whiley, Paul Weller performs live in concert the international star and is to release his twelfth solo album.


White Sky.
Come On Let’s Go,
I’m Where I Should Be,
When Your Garden’s Overgrown,
The Attic,
Saturns Pattern,
Going My Way,
Long Time,
Friday Street,
Porcelain Gods,
Broken Stones,
You Do Something to Me,
Peacock Suit,
Performed by Paul Weller
The Changingman
Performed by Paul Weller
These City Streets
Performed by Paul Weller
From the Floorboards Up
Performed by Paul Weller

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Paul Weller is doing a number of interviews in support of new album “Saturns Pattern”. He’s dressed, unsurprisingly, in full Modfather regalia; dark brown cashmere knit, immaculately pressed bootcut trousers, elegant suede Oxford shoes. Weller just doesn’t do pretence. Down to earth and affable,

After his concert at the Royal Albert Hall for the Teenage Cancer Trust. The charity is celebrating its 15th Anniversary, and Paul Weller has long been a loyal supporter. It speaks volumes that, at the beginning of a promotional campaign and having just completed a UK tour, he was still willing to give his time so generously. “What they’ve done over the last fifteen years is incredible,” he explains, “and it’s one of those charities where you know that whatever proceeds are raised, they go only where they’re supposed to, you know? You can physically see the results. I visited one up in Newcastle a few years ago, and talking to the kids there, the difference that it has made to their lives and their parents.

His special guest for the night was old friend Johnny Marr, who joined Weller and his band on stage for a version of an old classic, ‘(I’m A) Road Runner’. These shows have a long history of collaboration; having played previously with Paul McCartney, Noel Gallagher, and Pete Townshend, he climbed behind the drums in 2013 as Gallagher and Damon Albarn very publicly buried the hatchet with a sweet, ramshackle rendition of Tender’. Has he never been tempted to turn such fleeting moments with his peers into something more concrete?

“It’s a lovely idea, but I think it would be hard to get it together because all of us are always off doing something, or someone’s on tour. It’s one thing coming together for a charity gig, but it might be a different story when you’re making a record together; I’m never sure how much democracy works in a band.”

Having said that, Damon [Albarn] and Graham [Coxon] did a thing last year for Record Store Day where we backed Michael Horovitz, who is an old beat poet from way back, one of the last surviving ones really. We played with him, it came out on record, and that was nice; there were no egos involved and everyone just got on with it really.”

He has a charming, old-fashioned habit of referring only to “records” – it’s never an “album” – about Saturns Pattern, his twelfth. Billed as a mixture of “languid grooves and spine-tingling rock’n’roll”, it sounds like a step back from the experimental kaleidoscope of styles he’s employed to great acclaim on his last three efforts (where he swung from dub reggae excursions to dream-like, jazz-inspired psychedelia via pulsing, electro, spoken word punk). There are riffs a plenty, heavy guitars, some timeless melodies, and a gorgeous little piano stomp called ‘Going My Way’; one comment below the YouTube video for the title track sums it up thus: “Nice to hear him writing something based around a melody again, instead of bashing away at a couple of chords and growling over a sonic landscape.”

Overall Saturns is out there on its own, and I don’t think you can compare it to anything else going on .

One thing is clear; it’s lovingly recorded, and the mix has a deep, rich lustre to it. It sounds crafted, luxurious even. Weller has never really claimed to be a studio perfectionist, but free of the usual deadlines related to time and money – he has his own recording space, Black Barn in Surrey – he obviously wasn’t rushed. Sometimes he’d get through a couple of tracks in a day, others took a whole week to polish; there was “no pattern to it really, and if there is a pattern you have to break it and re-assemble it. It depends on the song, the mood…so many different factors.

“I didn’t really know what I wanted, but I knew what I didn’t want, so that helped. It was a question of just experimenting with sounds and songs until we hit a point where I thought: ‘That’s what it should be’. We try to make it as good as we possibly can, but I wouldn’t want make it so perfect that there were no rough edges – it would become too linear. There are things that are out of tune, a voice or guitar, which is fine because if that’s how it was then that is how it’s supposed to be.”

He’s been remarkably prolific these last few years, despite having some sizable laurels that he could rest on, should he so wish. 2010 saw him scoop both the NME’s Godlike Genius Award and an Ivor Novello Lifetime Achievement Award, the type of prize that precedes the industry gently ushering the recipient off into the sunset to enjoy their dotage. Three records – one of them nominated for the Mercury Music Prize – an EP, a second compilation LP, a live album, and more or less constant touring since is quite a workload for anyone, never mind a 56 year old. But Weller is as restlessly creative as ever – and the proud owner of a fierce work ethic.

“I couldn’t do a nine to five on it at all, it wouldn’t interest me. I really have to wait until it happens. Sometimes I sit down and I’ll write a load of lyrics, or do a song in an evening; other times I couldn’t really care less and I don’t think about it until I need to. Often I’ll just write little scraps of ideas in a notepad, and then I won’t look at them – I’ll just stash it away until the time is right. When that comes, I look through them and take little bits and pieces, whatever fascinates or interests me.”

There was much tabloid tutting when, in 2008, he split from his long term partner and moved in with Hannah Andrews, a backing singer from the 22 Dreams sessions; they’re now happily married, with twin boys. One song on Saturns, ‘Long Time’, scans like the redemptive celebration of a man who felt lost, but found a way out of the darkness; “For a long time I couldn’t find myself / Thought I was someone else / Couldn’t find no peace.” It could easily describe his newfound domestic bliss, but he says it’s not autobiographical; in fact, he says it doesn’t really mean anything at all.

“I hadn’t really thought about it in those kind of terms. Probably on a very sub-conscious level, because I wasn’t thinking about what I was writing when I was writing those words; I was just making shit up really and seeing where it went. I’m sure the sub-conscious mind works like that; sometimes it might take months or years to think: ‘Oh, that’s what I was trying to say’, and it’s not always apparent at the time.”

Weller has described himself in the past as a “working musician”, and I’ve always been perplexed by the idea that music, alone in the arts, is perceived as having a upper age limit beyond which people should stop playing, and stop caring – something that is never applied to authors, actors, or painters. He has a simple answer as to why this is; rock’n’roll is linked to youth in a way other artistic disciplines simply aren’t.

“Young people have always been the face of that, especially in the Fifties and Sixties when it was about rebellion. That music defined people and defined a generation. If you’re a classical, or a jazz, or a blues musician – the older you are, the more respect you have; kind of like the Village Elder, you know? So this is just in rock and pop. We’ve got all that history to look back on, but I don’t think there’s anything wrong with The Rolling Stones, whether they are 70 years old or not.”

I’ve only seen the Stones once, but they were brilliant, truly great for their age. Weller concurs. “I went to see them last year, first time ever, and I was really knocked out by their audience. They were the same age as them – people in their late 60’s and 70’s – and they’d obviously been going since they were kids. I found that really beautiful, to have stuck with them all that time and grown up with them; they’re still mad for it! And it’s the same thing for my generation, people who grew up with the Clash, or the Pistols, or disco; your mind is altered through that, you know? You don’t stop loving rock’n’roll just because you’ve hit 41 or something.”

Such music snobbery is, he says, limited to those of a certain age; kids these days, thanks to the Internet, just don’t see barriers. His own, older children simply “like it or don’t like it; they don’t make that distinction between eras, whether it’s a Stones song or Kanye or whatever is contemporary.” That’s not to say he doesn’t hold a candle for some of the great bands he grew up listening to, and how they compare to a lot of modern music; The Velvet Underground for example, who were one of my great discoveries at University.

“Timeless, isn’t it? The Velvets, that’s pretty eternal that music. I mean, I’d like to hear some new bands sounding as good as them, man! We live in a different time, and I think we have a different appreciation from some of them older eyes. I’m still glad that Iggy is out doing it; I’m glad that he’s still got his top off and the man’s going mad. What else is he supposed to do, wear a bowtie and sing supper club stuff? It just doesn’t work like that.”

Saturns Pattern’, the new album by Paul Weller, is out May 18th and available to pre-order now.

Paul Weller has unveiled the title track and new single from his forthcoming album, Saturn’s Pattern. The catchy, piano-led first track shares the title of the album and will appear on the Jam turned solo icon’s twelfth solo studio album. Weller said of the title’s meaning and artwork: “Apparently it’s some kind of wind on the north side of Saturn which created a hexagonal shape”.

The track will be released on 10th May as a 2-track download, followed on May 11th by a 7” vinyl.  There will also be an exclusive 7” vinyl ‘bundle’ available from Paul Weller’s official website which includes downloads of the track, an art print and a bonus print of Paul’s hand written lyrics to ‘Saturns Pattern’. One fan will also receive the original hand-written (and signed) lyric sheet.

Paul Weller teamed up with Johnny Marr last night for a cover of Junior Walker & The Allstars’ 1966 hit  ‘(I’m A) Roadrunner’. Paul Weller was at the Royal Albert Hall last night as part of the Teenage Cancer Trust concerts.

Weller announced the former Smiths member to the stage after a series of songs and said: “Would you please welcome back to the stage Johnny Marr. This will be either be fucking great or a disaster.”

Paul Weller also delivered a host of new songs from his forthcoming album including the album title track ‘Saturn’s Pattern’, ‘Long Time’, I’m Where I Should Be’ and ‘These City Streets’.  

He went on to play a two hour set with his five-piece band, performing a variety of songs from his back catalogue.