Why did Paul Weller, An Artist With Such An Excellent Body of Work Never Make it In The USA?

Yes. I like him and for awhile I was obsessed with Wildwood. I had the excellent 2CD deluxe edition, That led me to other albums--Stanley Road, Heavy Soul-- but after awhile i just stopped listening to him. I just couldn't get through entire albums. It was like, "Okay, here is is channeling blue-eyed soul, now Traffic...." I wanted to like these albums, but I never felt compelled to listen to them again after getting through them.
But he's one of those guys who has a few good songs on each album and i follow him on Spotify.

 

If there was any karmic musical justice, Paul Weller and Lloyd Cole would be HUGE in North America.

,

 

It’s the hair that prevents Paul from scoring bigger in America. Paul just doesn’t wear a mop top as authentically as Oasis. Paul should consult with Liam and Noel on how to wear it.



Kidding. I’m not sure why the Jam didn’t hit bigger in the U.S. Probably because a lot of us kids back then liked disco and then new wave and metal too much to notice a mod throwback.

 

As an early '80's Who fan, my view is America was the Jam's for the taking, if they wanted it.

I remember a fair amount of press.Two-part articles in Musician magazine, Fridays tv show,

their 'Englishness' was an asset to me. I liked the fact that I couldn't understand the words to 'All mod Cons/To be Someone, off of

the live album, Dig the new Breed.

Like I said, I think those Who audiences of the early eighties would've supported the Jam big time, just as The Who audiences of the late '80s

were probably waiting around for Nirvana and Pearl Jam.

 

I've never bought into the "too British for America" argument. If Americans as a whole felt an ongoing antipathy for all things British, then there wouldn't have been a British Invasion in the first place. Besides, you can't get much more "English" than The Kinks, and their success in the States has been well-documented.

Who can say what bands/artists will hit it big, and who won't? There have been fantastic American bands that were never appreciated in their home country--same with Great Britain. In the early 70's, Fleetwood Mac couldn't get arrested in England--but they still had a following here.

Back when touring was the main thing, hard road slog was a huge part of landing success in America for British bands. But it wasn't everything. Sometimes the timing was off--Bolan couldn't really crack the U.S. because it wasn't what American teens wanted to hear at the time, (and others argue that he didn't really put the requisite work in.)

 

didn't we do this a month ago?

 

The idea that Weller was "too British" for America is a cliché indeed. Looking back at his body of 16 solo albums I don't think that these sound quintessentially British. I guess people got that idea from The Jam. A band that split up some forty years ago.

 

During his days with the Jam, he was quoted several times saying he didn't care about America -- and questioned why British acts felt they had to go to America after cracking the UK.

There are several quotes of this nature in the June, 1981 issue of Trouser Press (page 35 - see link below). The pull-out quote they used read as follows: "People talk about conservative England, but America is worse. I can't be bothered playing there anymore."

Funny enough, this was during a time when college radio was giving some airtime to "Riverbank," "Going Underground" and a couple of tunes from Sound Affects.

Trouser Press Magazine Archive | Trouser Press

 

The Jam are one of my all time favorite bands and yet I can't get into any of what came after. It's pretty f'd up really. Same thing with Pavement and the Malkmus solo stuff. Those guys seem like they have a lot in common to me.

 

Plenty of UK artists have made it big in North America and vice-versa.

Loads of talented US artists have failed to move the needle in their home country and continent. Some nowhere at all, and some just overseas.

The same can be said for UK artists who hit it big in Germany or the US, but not on the home soil.

Many talented artists have not received the breaks that less-talented ones have and just about any obscure artist has fans who think the industry overlooked them.

It's not because one country has listeners who "don't appreciate true talent" or "don't get it." And there's no conspiracy to hold down anybody because of a 200 year old war grudge. It simply happens. Life is not fair and not everybody can be a superstar.

 

+ 1

Not to mention it assumes we are all analyzing lyrics and passing judgement. An inane assumption if there ever was one. Lyrics are not the choice criteria. Most people like the beat and melody first and foremost and could care less what the guy is actually saying.

I grew up well before the internet and was always perplexed by the Beatles and the Who's referencing "a Mac." It hardly killed Penny Lane and Substitute for me. Finally went to the UK, asked, and received my answer.

Sounds like our Anglo-Saxon friends need a hug and some reassurance.

 

Agreed. I’m in Toronto and his work is pretty much invisible

 

He has never cared too much about making it big in North America. I've seen him a handful of times on his short tours over here, but sometimes I wonder why he bothers.

 

My friends and I saw the Fridays performance, and were blown away. But after that, it fizzled. You couldn't find The Jam on the radio. In Pittsburgh, the eastern edge of the Midwest, they were nowhere to be found, and I don't think they ever played anywhere in the city. The Police did. The Clash, Blondie, The Pretenders all did too. The Sex Pistols even had a gig scheduled in Homestead before they imploded.

And, I don't remember who opened for The Who in 1982, but The Jam would have killed it.

 

How so?

 

The Clash

 

What is MOR Bloke Rock? Have you given his last few albums a chance?

 

He's made it clear as a young man that he wasn't that fussed about 'breaking america'. He's probably doing as good now as ever in that direction.

The jam were never going to go over like the clash did stateside.

 

He is too eclectic for the majority of folks in the US. Heck he sometimes is too eclectic for me and I am a fan.

 

Hi. No that’s my point, I really need too. MOR Bloke Rock is basically the watered down dull stuff he did straight after Stanley Road…. Got better with 22 DJ’s and I am aware he is back I a cool groove. Will listen to Fat Pap today.

 

Probably because he was in the wrong place at the wrong time doing the wrong thing OR probably because he was doing pretty much what everyone else was doing in music at a given time

 

Too 'British' somehow--not very popular outside his homeland in Europe either--and doesn't have the happy go-lucky personality that lends itself to success in the mainstream (nor the non-musical personal melodrama to create PR).

 

In my opinion, one way to crack USA is tour tour tour. These English stars are not used to long and grueling tours, at least not of such a size, and that's a reason why they remain confined to cult status.

 

This is an interesting article. I get the Dad rock/MOR jibes regarding some of his solo work, but he’s also released some great stuff. I will always prefer the Jam and the Style Council though.

Paul Weller: ‘Music means more to me since I’ve been sober’

 

"sup up your beer and collect your fags, there's a row going on down near Slough"

Can't imagine how that didn't translate in the US.

A long while ago, I sold a Jam LP on the auction site. I was a bit surprised when someone in the States bought it. I even messaged the buyer saying I didn't think there were any Jam/Weller fans in the US. Turns out he had lived in Saudi for a while, his housemate there was a Scot who would play records by the Jam (and other UK bands) all the time.