(As noted in my first Essentials entry, this is an occasional series in which I spotlight albums that, in my estimation, everyone should experience at least once.)
Last week, while flipping through my photo library, I came across pictures from just prior to our move last year from Pennsylvania to North Carolina, when we were sorting through the collected ephemera of two lives and deciding what to take and what to toss. Among the latter: cassettes I made in the late 1980s and early 90s to listen to in the car. (I know: How quaint.) The above tape, from sometime in late 1992 or early ‘93, was one.
For those who don’t recognize the songs on Side A, they represent Paul Weller’s 1992 eponymous solo debut in full, with the closing “Kosmos” spanning onto Side B. My stereo setup had the ability to fade in or out when recording to tape, so I might have done that here, but since the song also fades out and in, who knows? I may have made use of one of the natural stop, cut out the five minutes of recording groove (see Wikipedia’s entry on the album for more on that), and kicked off Side B with the 30-second reprieve that closed the album. The remainder of the second side consists of Jam tunes, most likely lifted (for expediency’s sake) from Snap! and Extras.
Paul Weller’s solo debut, which followed his days with the Jam (1976-82) and Style Council (1983-89), has never been far out of my reach since its release. In some respects, it laid down the blueprint he’s followed ever since, mixing heavy soul with jazzy touches, self-reflection and self-recrimination. It opens with the propulsive “Uh Huh, Oh Yeah,” which sets the stage: “I took a trip down boundary lane/trying to find myself again…”
Though he’d been to the top with both the Jam and Style Council, by the end of the ‘80s he seemed in danger of teetering into oblivion. This Coventry Live article delves into that fall from and return to grace, but to cut to the chase: Instead of giving up, he formed a band, hit the road and self-released a single (“Into Tomorrow”) that turned enough ears to land him a record deal.
The urgency that drives the performance coupled with the philosophical/questioning bent of the lyrics equals Paul Weller at his best, and defines the album in total. Another high point: “Above the Clouds,” which is one of my favorite Weller songs.
The early ‘90s were a time of CD singles laden with bonus tracks, of course, and Weller released a few in support of the album. (They were hard to find in the States, but I managed to locate most.) In 2009, however, a deluxe reissue made those long-ago efforts moot by gathering them all together alongside alternate mixes and demos, plus a cool cover of “Abraham, Martin & John.” It’s well worth the expense.
Of those bonus tracks: My favorite was and is “Everything Has a Price to Pay.”
(The two studio albums that immediately followed, Wild Wood and Stanley Road, are equally essential to my ears, as are a smattering of his latter-day albums, including 22 Dreams, A Kind Revolution, True Meanings and this year’s double-disc live opus, Other Aspects.)
Here’s the track listing of the original release: