Paul Weller- The Paul Weller Creation and Continuum Discussion

Discussion in 'Music Corner' started by butch, Jun 1, 2010.

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  1. butch

    butch Forum Resident Thread Starter

    Paul Weller Solo/The Paul Weller Movement Live 1990


    5th - TURIN
    8th - VIDIA - CESENA
    11th - TOR 3 - DUSSELDORF
    12th - CAPITOL - HANOVER
    27th - UEA - NORWICH


    Paul Weller - Dingwalls first solo gig 1990
    01. Kosmos
    02. My Ever Changing Moods
    03. Homebreakers
    04. Round & Round
    05. Strange Museum
    06. Just Like Yesterday
    07. That Spiritual Feeling
    08. Here's A New Thing
    09. Precious
    10. Work To Do
    11. The Loved

    Paul Weller - Live at the Town and Country 05 12 90
    01. My Ever Changing Moods
    02. A Man Of Great Promise
    03. Round And Round
    04. Kosmos
    05. Homebreakers
    06. Strange Museum
    07. The Whole Point Pt. 2
    08. Speak Like A Child
    09. Just Like Yesterday
    10. Precious
    11. Headstart For Happiness
    12. Work To Do
    13. Pity Poor Alfie

    These tracks are available on the Weller At The BBC Box Set from the Dec 5 show:
    My Ever Changing Moods
    Just Like Yesterday

    Paul Weller - Live at the Town and Country 12 6 90
    My Ever Changing Moods
    A Man Of Great Promise
    Round & Round
    It's a Very Deep Sea
    Strange Museum
    Down In The Seine
    The Whole Point 2
    Speak Like A Child
    Just Like Yesterday
    That Spiritual Feeling
    Here's A New Thing
    Headstart for Happiness
    Pity Poor Alfie
    Work To Do

    Live at The Docks, Hamburg 11 13 90
    01. My Ever Changing Moods
    02. How She Threw It All Away
    03. Man Of Great Promise
    04. Kosmos
    05. Homebreakers
    06. Round And Round
    07. Strange Museum
    08. The Whole Point Pt. 2
    09. Just Like Yesterday
    10. Here's A New Thing
    11. Precious
    12. Pity Poor Alfie
    13. Headstart For Happiness
    14. Work To Do

    At this point, Weller had given up writing songs as it were according to certain sources in the media. In some ways Weller was reaching an identity crisis of sorts. This was the first time since the Jam where he was unattached to a label writing tunes on a regular basis and performing. Weller comments on this period: " A hundred years later I woke up in Woking without a deal,a recording or publishing contract,without a group, without a base. The evil curse had ended or the beautiful dream had just begun." At one point when The Style Council reconvened for that TV appearance in April of 1990, Steve White and Wellie reconciled and the die was cast for their reunion. In the aftermath of that TV appearance, Weller and Whitey worked on some demos together. And it was a lost time for Wellie creatively,yet he still found ample time to tour.

    In addition, Paul became more enthralled with bands like Traffic and Spooky Tooth. Through listening to some of the Sixties favorites like the Small Faces and The Beatles, Wellie began to play more guitar. In addition, Paul began to embrace Acid Jazz which married elements of soul, funk and R & B in one fell swoop.All these Acid Jazz funksters most definitely were indebted to Style Council who were including elements of TSC's music in this new found genre.

    By late 90, Weller had written a few new tunes. Wellie still didn't have the confidence to go out solo yet needed an outlet for his excitement at the new material. Weller had to hit the road a result. The Paul Weller Movement then began with old Style Council drummer, Steve White in tow.There were many people brought in from the Acid Jazz scene to complete the unit like Paul Francis and Jacko Peake and actor/musician Maxton 'Max' Beesley. In essence, Weller had no record to promote BUT had a job in promoting himself in a sense.When Paul returned to play live, he chose Dingwalls, the epicenter of Acid Jazz where he had actually DJed at one time oddly enough.

    Wellie' first tour commenced in Nov and The Paul Weller Movement played Europe and Britain as well..He began to relent on not playing Jam tunes and began to play them again. Initially Weller didn't want to do the tour but decided to have a go at it. He remarked:' I had no interest whatsoever ,but I'm really glad I did it,because if I hadn't I think I would have just kept on sinking." During these shows a balance of soul and rock was being achieved as well.

    Though many of the gigs were sorely lacking in participation, the dates were quit good in spite of low attendace. There was a BBC Radio One broadcast of the Town and Country Dec 5th show.Wellie pulled out the Isley Bros classic Work to Do and did a stirring soul vocal on the tune. The concert marks a bright future for Wellie in that the show featured the past,present and future for Weller. He was ably displaying a knack for entering a new era while embracing his past as well at the time. From the Dec 5th and 6th shows Weller plays Just Like Yesterday which harkens back to the salad days of TSC . Embracing a Seventies soul vibe in full force, Wellie goes retro 125%. In essence, Marvin Gaye would have been proud.

    Here is the track Just Like Yesterday for your listening pleasure:

    Attached Files:

  2. butch

    butch Forum Resident Thread Starter

    Paul Weller Movement bassist

    Paul Francis, Bassist talks about Paul Weller, Steve Hillage, Ian Hunter and Midge Ure

    Here is my interview with bassist Paul Francis who toured as part of The Paul Weller Movement back in the early Nineties.

    What kind of music did you grow up listening to?

    Rock and roll really going into The Beatles. Late Fifties going into the Sixties

    Was there anyone else like The Who, the Kinks that you were really into?

    That came later on when I became a bit more aware. Initially it was Bill Haley and Elvis Presley. I was about 5 then you see.That's the first thing I can remember really. Things like Motown came later on.
    Motown came later on when I was in secondary school.So I'd be about eleven.

    Who inspired who to play bass?

    I dunno if its different now but when I was growing everybody wanted to be a musician. So I played bass because there were already three guitar players. I wanted to play guitar but there were three guitar players in a band, so I took the top two strings off. So I started playing bass.

    When was the first time you were aware of bass?

    Andy Fraser from Free. And it was that little thing on All Right Now and the Kossov solo on All Right Now.

    Andy Fraser used a
    Gibson EB-3.

    Yeah that's right.

    How did you get to play with Steve Hillage initially?
    A really odd story. I met Nick Turner from Hawkwind. He asked me to do this gig It was actually a squat in North London. We did this gig in the basement . I played with Nick through some connection. Nick mentioned me to Steve and Steve needed a bass player.

    How was it like playing on Open, there was a funky vibe on there.

    I don't know if you know the album before Live Herald. John McKenzie had already set up that funk vibe and it was really cool. So when I turned up it wasn't such a shock. Steve was also totally into Bootsy and Parliament/Funkadelic, so he's was trying to go for a Parliament/Funkadelic thing.

    How was that first big gig you did at Glastonbury?

    Glastonbury was sort of affiliated to another sort of movement, Michael Avis the farmer was kind of as well.So we rehearsed down on Michael's farm.Two weeks before we did the gig, we rehearsed in a barn. In the barn were these huge barrels of scrumpie. Which was really handy.Scrumpie is kinda like hooch, it's beer basically.

    There were so many people there. Peter Gabriel was there as well. Was it overwhelming for you?

    We've got an ability to play and we had spent two weeks rehearsing. We were really tight. Actually it was three weeks including the week we did in London.We were tight so Andy and I ,the rhythm section, thought we could play with anybody really. And Steve knew these guys... I think Alex Harvey was there that day. But I think in the end there was a big Jam in the end and John Giblin ended up on that huge jam on the last night.

    Where you prepared to play?

    Well I was prepared to play with Steve. Oddly enough I had already got Live Herald. and I was checking out John Mac Kenzie's basslines. And within two weeks of getting that record they called me and they asked me if I wanted to do the gig and I said f^&*n' hell!

    Steve was a prog god how was it to play with him?

    I was already into John McLaughlin and AL Di Meola so when I played with Steve I didn't really appreciate him. But I did after awhile I did get it. Steve bridged that gap between blues, rock ,and fusion.You listen to other guys and they were one thing but he was about bridging gaps.

    How did you get the James Taylor Quartet gig?

    That was through a friend named Harban Shreye ,a drummer. He knew Steve White really well. He mentioned to Steve that they were looking for a bass player. So this friend of mine Harban gave me the number, we got on really well.We had a one day rehearsal and then we started doing some gigs. It was just like that.

    How was your chemistry with Whitey?

    Steve is quite a technical player and he's got quite some amazing chops So as a bass player you kind of have to be rock solid and ready and you can't get too flash on that. That's what I tried to do really. I was trying to keep the groove you know.

    Was Eddie Piller managing that band?

    I think so because Eddie was managing Acid Jazz records and I'm not sure if he was managing James as well.He might have been doing both.The contact between James and the company.

    You got along with Eddie?

    The guy I mentioned earlier Harban we actually did an album together with Eddie on Acid Jazz a separate album as well.That was the deal as well.

    How did you get the Weller gig?

    Through Steve.And at the same time we were doing Galliano we were rushing from Paul Weller rehearsals to doing Galliano gigs.

    What was the best gig you had done with Paul?

    It was T & C(Town and Country). The only reason I know that is because I have the Radio One broadcast of it and I've still got it.I can refer back to that and there are some good moments on that as well.

    You guys were very tight at that point?

    Yeah because we had already been to Europe at that point and we got back we'd done European tours and rehearsals and then we did the T & C. So it was all happening then.

    Was it a daunting prospect to play with such a legend such as Weller? Or was it par for the course by that time because you were such a studio veteran.

    It kind of mattered at that point because I wanted to hold on to something. I admired Paul but I also had to have a professional attitude towards it and not be too friendly with him.

    What did you think of the Jam vs The Style Council?

    Well (TSC) was leaning more from where I was coming from. I was really into the punk thing anyway. So if he had remained in a punk I probably wouldn't have been playing with him. Because he went over into that direction it was more my sort of area area of expertise.

    Did you think that he was some sort of genius?

    That's a difficult one isn't it? I think the word genius is....there are only few. I mean in the true sense of the word.

    Would you rate him as someone who had a high musical quotient?

    Definitely yeah..He's kind of like, he encompasses all music from the 60s the 70s,punk all of it. Yeah, he's great.

    Did he get any of your ideas when you were playing together?

    Well basically because he plays guitar and piano, he sings he's got a real good view of how the instruments go together. Usually he'll start playing and give you a rough idea of what he wants,if he doesn't like it he'll tell you. Which is great. and then we come to a happy compromise after that.. I don't think myself that I had much input into the band.

    I played what was right for the tunes.

    How did you feel about that mix of Acid Jazz and rock that he had been doing? Did you feel that his synthesis of rock ,soul and jazz was unique?

    There was a band called Mother Earth.

    Yeah, Matt Deighton who later on played with Weller was in it.

    And so it wasn't a new thing. Even Jay Q started to listen to Hendrix and go back to listen to Hendrix for inspiration. It was a retrograde back to the energy of those classic rock bands. A lot of people I knew were doing it. It was a natural step for Paul to go in that way.

    What was favorite tune of yours that you played with your time with him?

    That's tricky. I mean the tune I liked was not necessarily a good part to play but he wrote a tune called Kosmos and it was jazzy and he really liked the atmosphere. The bass part wasn't that it wasn't great........ it wasn't demanding. I like the piece of music.

    How did you get along with everyone in the band like Jacko Peake?

    Jacko was a great guy.He gave me a nice leather hat

    You still have it?

    No I actually gave it away two years ago to somebody else.It was a Seventies pimp hat BUT it was made of leather.

    Did Gerard Presencer play with you guys at the time?

    I played with Gerard...on the album we did for Eddie.

    That Acid Jazz project.

    No, there was an older guy playing trumpet and I can't remember his name? An older established guy playing trumpet.

    Why did you stop playing with Weller?

    Paul was trying to go for that soul thing. He then got the guys from Ocean Colour Scene, they came to do the albums after what we did. It wasn't the same sort of soul style.

    It was more rock.

    Did you get a chance to record with him at all?

    No, I don't think so because the only reason I'm saying that is because we were constantly in the studio called Solid Bond. We were rehearsing there.

    He wanted to go into a different direction?

    Yeah, The thing was for me I worked for a couple of agencies, the Session Connection, Simon Harrison and I didn't think he wanted this kind of session musician. He didn't want session musicians in the band as such.

    You also mentioned Galliano. How was it like working with Mick Talbot?

    The band was basically me,Mick and Steve.When we first started out.

    What did you think of Mick he's a funny guy isn't he?

    He's awesome. he's really good. He's got no ego. His ears are really good. Finds sounds really quickly.He knew what to play. He's a funny guy. In the studio real good fun. He's also on that record....the one I keep telling you about.He was on that as well.

    What was that album for?

    It was eight tracks and the tracks were licensed out.Some of them got licenced to Acid Jazz. And the rest we just licensed them out live. We couldn't get a deal for the whole project.

    Who was on that exactly?
    That was me Harban Shreye, who was from Animal Nightlife. Myself,Mick Talbot Gerard Presencer and Denard Higgins, tenor player. We just put this record together and everyone played on it. We didn't get much feedback on it.

    How was it playing for Chris Farlowe. Did you grow up liking his music?

    Well the thing was with Chris, I saw him at Colosseum at nine or ten. I bumped off school and I went to the Isle of Wight. Not the isle of Wight the Bath festival. In 1970 and Colosseum were there. And I remember seeing him with that shirt with tassels. I walk in thirty years later and here's this big overweight guy standing there. I remember you, yeah.

    How was it playing with Maggie Bell? Was she really like a Scottish Janis Joplin?

    She was wasn't she? On that level over here. I saw Stone The Crows and when she did her other stuff like Suicide Sal. She did that record Will Lee was on. Great record and she had some great stories about Will Lee and those guys. When I started talking to her it just really clicked.
    She had a drummer named Paul Francis as well didn't she? I phoned her up one day and she asked how's the wife? How's the dog? She thought I was married, I thought she was getting senile dementia or something! Then it transpires that she's talking about the other Paul though!

    In terms of playing with Ian Hunter, what was that like and what was the most memorable thing about playing with him?

    Well I don't know what you think but there aren't many rock and roll heroes anymore. Because obviously as I was growing up I listened to David Bowie, T Rex and Moot The Hoople, I used to love all that stuff. So when I listened to Jaco Pastorius and heard All American Boy that was another moment in time. So this guy's really got something, he's got great bands ,he writes really good tunes. To be honest I was playing in a bar in the East End and I didn't know he was there. He just came up and his manager came up. He's looking for a bass player are you looking for a gig? F#$%n' hell! It was just music and fashion and when you get the whole thing kicking off with music and fashion all around that I like that. The whole movement.

    Ian was totally underrated.

    If you asked Ian to play all the Young Dudes, he'll just kick you in the balls!

    You've also played with Midge Ure. How did you get that gig and what is he like?

    It was before Live Aid so his profile wasn't that big. When Andy and I left the Steve Hillage Band. We hung out for a couple of years after that . There was a scene like Sonic Youth and Transvision Vamp. You would just walk around and bump into them and have a moment. Andy found out that Midge was doing some recording and we went down into Midge's House and spent a couple of days of recording essentially.

    That was the extent of it?

    Yes, I think he did the album that Mark King was on afterwards

    You also played with Londonbeat. Was that during their I've Been Thinking About You phase?

    Jimmy Chambers is an old friend of mine. when I first started playing Jimmy and I were in a band together. The band was me Jimmy and Neil Conti from Prefab Sprout. JJ Bell was playing guitar he was the guy from Grace Jones' Slave to The Rhythm. It was a band of up and coming London musicians and Jimmy as with us. Ten years later Jimmy calls and says he needs a bass palyer and I'd love to do it. It wasn't a democracy that band you had to fight to get in there.

    Could you be creative in that situation or were you a slave to the session?

    You can't play things note for note because of your own identity . You stay true to the song and stay with the vibe. We did a couple of rehearsals, Top of the Pops and we did some European TV shows.. Then they pulled the line and it all fell apart.

    How was it working with Paul Gilbert who is known for his wood shedding?

    Well I'm not Billy Sheehan. I usually work the IGF festival, those are usually blue guys and that's not demanding. The organizers came together and you need to put a band together for Paul Gilbert. I remember Mr Big just about and the Racer X stuff I hadn't heard it. I got the CD and said how I'm going to do this? I got the CD and I'm sitting there for four months and figured it all out. Scarified, it was hard...I did it though.

    How was it playing with Courtney Pine and do you think that he's become a British jazz icon?

    It's odd because he's the one of the granddaddies of modern British jazz or sort of according to British fans. He 's the one that is always mentioned when it comes to British jazz.

    I met Courtney before he was big. We did gigs back then with Frank Tonto , the drummer. He plays with Craig David now. 10,15 years ago we were all doing gigs together, coming up together.

    What was the craziest story of anyone you worked with?

    I had a thing where I wasn't going to yes to everyone who called up. I was going to have some decorum. The phone rings and the guy says are you free for a gig on a Saturday? I said what instrument do you play? He said the organ. I went to check my dairy and said to be honest I'm not free on Saturday. I can't do it. I might find a way to do it. what's the gig? He said Keith Emerson. I went s^&t all right. I went frantically back pedaling .... I'm sorry yeah yeah.....

    Were you a fan of ELP?

    I'm a fan of musicianship. I went to see them down on Brain Salad Surgery down in Wembley. I dunno but I was more of a Crimson fan, Gentle Giant.

    Who would you want to work with who you haven't already?

    I always thought about this....... David Bowie or Elton John. Something's that's got pedigree.Every time you play a tune you're like f%^& hell I know this tune. One of those sorts of guys.

    Did you start playing fretless because of Jaco?

    I heard Jaco before I started playing fretless but I went for some lessons with this guy Neil Murray. Do you know Neil Murray?

    From Whitesnake.

    Yeah, He took me under his wing . I went for a lesson with him and he asked me if I could take my bass with him? No worries man he takes it away when he brings it back there's no frets on it. I went s^&t what am I gonna do. He said learn the fretless bass young man.

    He pulled a Jaco (tearing the frets out and making it a fretless bass) on it?

    Yeah definitely he pulled the fretmarkers out, so it was a Jaco thing.

    How did you approach playing fretted vs fretless?

    When Neil did the fretless for me, I had a lot of vibrato curring up my intonation. So when I couldn't pitch the note correctly I used vibrato.I couldn't find the note. I was playing it ten years later . I didn't do any vibrato and tried to pitch the notes correctly. Just played it as I would a fretted bass wntil I got my intonation.Then I started to work on my vibrato.

    You use Music Man and Fender basses, what do you like about each respective bass? It seems like everyone who ever played with Weller either used a Music Man OR A Fender! Why were you attracted to those basses as opposed to Alembics?

    Well Alembics are like 23,000 pounds! I was looking at a Ken Smith today . I really like those.The fretless bass the Precision I got that when I was 21 because Fender as the bass to have. I didn't know much about tone generation or anything about the bass. Fender was good so I got the Fender. Years later I realized why those bases are good.The Music Man is basically a Fender Jazz with a humbucker isn't it? I try to stick to Fender that being the concept of what electric bass should be.

    Who are some of your favorite jazz artists? And do you prefer fusion to bebop? Wwhat did you think about acid jazz vs fusion and old skool jazz?

    Obviously its gotta be Miles because with no Miles there'd be no Manavishnu, Chick Corea or Herbie Hancock. A lot of post Miles stuff I listen to later on. I'm kind of into bebop but I'm sort of into the more modern jazz really. I've been listening to Chick Corea the Electric Band. I've had it for five years but I've been listening to it lately.

    Listening to Charlie Parker is like listening to the Beatles. Some people say jazz is obscure but it's lyrical to me.

    What did you think about acid jazz, was it cod jazz?
    I did,I did. It wasn't stretching harmonically, two chord vamps don't make a tune. I love the complexity of sixteenth note grooves but I also like chord changes and I think a lot of guys are afraid to change the chords.

    Who is your favorite bass player besides yourself?

    Wow, that's a tricky one. That's Jaco actually. My favorite two bass players are Marcus Miller and Jaco because when they played you knew who they were. Jaco recreated the sound of the tuba. I've got a Jazz Bass I'm trying to get it to sound like Marcus Miller.

    How did you start teaching at ACM and how has that experience been like?

    Well, I don't know what it's like in the States but the recording has dried up a bit because people are recording at home now. They can put in loops and they don't need bass players. As a live musician it's kind hard to make a living so I'd be doing the odd session here and there. So when you put it all together, it gives you an income essentially. That's why I'm doing it really.

    How is your material with IGF coming along?

    I'm not doing this year because I'm doing this Croatian summer course.In August of this year, I'm doing a little clinic and tour. The IGF stuff has been great. I'm met Hamish Stuart and Rob Harris from Jamiroqaui. I've met more musicians at the schools in the last ten years than on gigs.

    Where are you touring?

    I have loads of debt gigs coming up which is in and out really and then the tour in Croatia. The guy who's running the festival is a drummer and he's putting the band together. We're gonna grab a couple of guys from London and one from New York and put a tour together. So we are doing some clinics and a couple of gigs as well.

    Attached Files:


    DJ WILBUR The Cappuccino Kid

    finally...gonna be a great summer....:D

    great starting interview and post Butch...thanks for the time you do put into all this.

    DJ WILBUR The Cappuccino Kid

    this complete December 5th show can be purchased on the 13 disc "digital download version" of the BBC Weller box can also buy the files individually if you wanted to hear this particular show...

    available here
    Claudio Dirani likes this.
  5. jon9091

    jon9091 Master Of Reality

    Great to see things move into the Weller solo era...and a great interview to start things off. :thumbsup:
  6. hutlock

    hutlock Forum Resident

    Cleveland, OH, USA
    Hooray! Great start, Butch! Can't wait for this thread to get rolling in earnest!

    I remember reading about the PW Movement thing and Weller's return in a VERY tiny blurb in The Face, just prior to the first single coming out... anyone remember what I'm talking about? I'll have to see if I can dig it up somewhere, as I'm sure I still have the magazine.
  7. butch

    butch Forum Resident Thread Starter

    No problem,mate. It's been my pleasure. Weller is an artist who definitely deserves this deluxe treatment . He's done some really great music and it is fitting that he is treated accordingly. And the " live file " is a new feature for this thread which will give Wellermaniacs a breakdown of Paul's live and TV appearances. That last stand of the TSC live in 89 was a sort of pilot for this new endeavor.......
  8. leshafunk

    leshafunk Forum Resident

    Moscow, Russia
    Congratulations with A Brand New Start !!!
  9. butch

    butch Forum Resident Thread Starter

    Thanks, mate. I wanted to do a little something different with this thread to add some juice to the proceedings. Weller's really an amazing live performer, so I wanted to include that aspect of his career.
  10. butch

    butch Forum Resident Thread Starter

    For The Face fanatics, I was a very big fan of Neville Brody,one of the best magazine designers of all time. He was infamous for his Cabaret Voltaire covers. I remember a friend of mine who mentioned a few inside baseball things back in late 1990 and early 91. One was that Weller was back and he didn't like what he heard in " circulation" (which is code for a verboten word on these distinguished forums). Needless to say I did like what he was doing! And I even had appreciated the new tunes as well.
  11. butch

    butch Forum Resident Thread Starter

    Thanks, LF. It certainly is in someway . In some other ways , judging by the stylists Weller had been dabbling in the past a bit. However at the time it was a starling surprise for him to do some cherished material that tons of people had longed to hear yet again........ I'm referring to The Jam material of course!
  12. hutlock

    hutlock Forum Resident

    Cleveland, OH, USA
    I remember seeing Weller's name on the cover and buying it and reading it on the way home and being MASSIVELY disappointed that the "feature" was only like a quarter page!

    LOVE The Face, however.
  13. butch

    butch Forum Resident Thread Starter

    Even then, regardless of all the travails and hardships of the late Stylist Period, Wellie's name still had significant merit.
  14. Colocally

    Colocally One Of The New Wave Boys

    Surrey BC.
    I am looking forward to this thread. I have now got all the solo albums, but am still getting to grips with some of it, so will he good to get some opinions on some of the albums I am less familiar with.
  15. butch

    butch Forum Resident Thread Starter

    As you know I'm filled with opinions on everything but the girl!:D I had to throw in the Stylist reference for those bemoaning the demise of the TSC. The critiques are a bit different because the texture of his solo tunes had changed. This transformation began in the TSC period when Weller became markedly less political in an overt and blatant sense. Colo, I'll try to guide you through whatever I can in that this thread will be pretty exhaustive. You'll see what I mean when things get into second gear. One advisory notice: don't blink ,you might miss it!
  16. marcel

    marcel Alea Iacta Est

    :agree: a little less time on the beach, a little more time on

    Wow! This thread started on a high note! What happened from the end of The Stlye Council to the beginning of Paul's solo years is like a "lost" period to me. Not enough information. Think I am going to learn a lot.
    Thanks Butch:thumbsup:
  17. butch

    butch Forum Resident Thread Starter

    No problem,mate. The lost years were interesting only because Wellie wasn't as lost as some people had thought he was. It wasn't that he had a master plan per se but things were happening!

    For those who live in the East Coast of the US,this past Memorial Day weekend and its sweltering heat was an auspicious omen indeed. A Long Hot Summer is well as some much needed Illumination on Wellie's early solo years.
  18. rediffusion

    rediffusion Forum Resident

    This thread is looking interesting and I'll try to make an effort to contribute. I got left behind in the other ones and never caught up.

    DJ WILBUR The Cappuccino Kid

    its impossible to keep up with these never feel left behind just dive back in when you get lost, we'll find you and get you up to speed......;)
  20. butch

    butch Forum Resident Thread Starter

    Another image of both Pauls, Weller and Francis, from a Japanese magazine:

    Attached Files:

  21. butch

    butch Forum Resident Thread Starter

    Red, it's all good mate. As I do with most everyone I'll keep you posted on the new posts. If you literally blinked and missed something you can still comment on it if you are inclined to do so.

    DJ WILBUR The Cappuccino Kid

    and expect to be overwhelmed...something tells me this is gonna be a fine tooth combed retrospective with so many twists and turns...i'm thinking 2013 or so, we should be about down to 22 dreams and what not...

    Butch, do you have any thoughts to timing say what you hope to cover in the rest of 2010? I'd be curious if you had any inklings on this...
  23. butch

    butch Forum Resident Thread Starter

    I do. Expect to get at least two posts per week...more like three depending if we get to a super major post like one of the albums. And the debut album post will be Titanic-like in its proportions BTW. It will be the album proper, the deluxe and a surprise all wrapped into one.....:shh:
  24. jpmosu

    jpmosu a.k.a. Mr. Jones

    Dayton, Ohio, USA
    I'm looking forward to this one, too. There are a number of holes in my solo Weller collection, so I'll be looking to this thread for some guidance. :)
  25. butch

    butch Forum Resident Thread Starter

    It's funny how I kept up with Weller's work through thick and thin all these years, it's positively mindboggling actually. Hopefully, everyone will bring up that tune that was a veritable dark horse or a B-side(yes Paul was still doing singles in his solo career) that was a tarnished gem that might have gone unnoticed by many. Some of those holes in people's collections will become illuminated and hopefully one will be elucidated in the process.
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