Have you made up your mind (Paul Weller) (LP 4835 - 4839)

Paul Weller  22 Dreams (CD, Island Records, 2008) ****  

Paul Weller  Wake the Nation (CD, Island Records, 2010) ***

Paul Weller  Sonik Kicks (CD, Island Records, 2012) ****

Paul Weller  A Kind Revolution (CD, Parlophone Records, 2017) ****

Paul Weller  True Meanings (CD, Parlophone Records, 2018) ****

Genre: Indie rock

Places I remember: Kings Recording, Charity shops in Caterham, JB Hi Fi

Fab, and all the other pimply hyperboles: Cold Moments (22 Dreams)

Gear costume: No Tears To Cry (Wake the Nation), Satellite Kid (A Kind Revolution)

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6; Part 7; Part 8

Active compensatory factors: I only have a smattering of his albums with The Jam and Style Council, but quite a few of his solo albums from 22 Dreams onwards. That's thanks to perusing the CD racks at a few of the charity shops in Caterham when we lived there.

CDs were out of fashion in the late 2000's so there were loads of good CDs going for a pound each. I bought the bulk of these Paul Weller albums that way.

I had bought 22 Dreams from my favourite CD shop in Abu Dhabi because of a stonking good review that I'd read in Mojo magazine. I loved the cover, the idea of 22 dreams in song form and the experimentation hinted at in the review. Sounded vaguely like a double album a la The Beatles.

It's certainly an eclectic collection and for the most part I enjoy the variety of songs on offer. Unlike the Fabs, Paul's voice is the consistent element to these 22 songs which encompass, rock, pop, electronica, soul, and jazz styles. Being a double album makes it ripe for further listens and exploration.

Wake the Nation came after 22 Dreams. It was a much more in-yer-face effort with Weller delivering his vocals with full on commitment. 

He still uses different styles for effect. I particularly like the Motown-ish No Tears To Cry and the sixties psych drama of Andromeda. Barking mad, but great! Not all of it works (Trees is a mess), but, like 22 Dreams, it's always intriguing.

Sonik Kicks came after Wake the Nation. It's another eclectic set of styles. It starts with a hiss and a roar and rarely lets up with the intensity. There is a lull for some psychedelic folk musing but generally it's a lush sound bed that Weller delivers on Sonik Kicks. His album titles are certainly accurate descriptors for the songs and sounds he delivers.

A Kind Revolution is an album that covers more mainstream pop territory, and I like it a lot for that very reason. It covers gentler ground than those last two albums and feels warm and cozy as a result. I particularly like Satellite Kid with its extended workout.

True Meanings is the final album on my list. It's a real change in pace for the sonic adventurer of Wake The Nation and Sonik Kicks. This time it's a pastoral, acoustic approach that really pays off. It certainly presents Weller in a more reflective, mellow mood (but not laid back!) It's about the only album here that I would recommend for the WTWMC album of the week.

Where do they all belong? He's prolific, but I don't live in England anymore, so I can't scoop up any further albums on the cheap. This will have to suffice.

Easy to fall (Bob Welch) (LP 4833 - 4834)

Bob Welch  French Kiss (Vinyl, Capitol Records, 1977) **** 

Bob Welch  Three Hearts (Vinyl, Capitol Records, 1979) *** 

Genre: Pop 

Places I remember: Real Groovy Records

Fab, and all the other pimply hyperboles: Ebony Eyes (French Kiss)

Gear costume: Precious Love (Three Hearts)

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6; Part 7; Part 8

Active compensatory factors: Bob Welch's work with Fleetwood Mac is undervalued I feel - eclipsed by other iterations of the band. After he left he started a band called Paris who recorded two undistinguished albums and then launched his solo career with French Kiss and the hit single Ebony Eyes.

The album is also notable for the inclusion of various Fleetwood Mac members -  Mick Fleetwood, Christine McVie and Welch's successor, Lindsey Buckingham. With such company and such strong soft rock material, the album got his career off to a flyer.

His second, Three Hearts, repeated the formula with Mick and Christine again having cameo appearances but overall it wasn't as strong as the debut.

Where do they all belong? Smooth soft rock at its smoothest from the talented Bob Welch. Basically, anything that Christine McVie contributes to is classy and worthy of purchase.

In the garage (Weezer) (LP 4829 - 4832)

Weezer  Weezer (a.k.a. The blue album)  (CD, DGC Records, 1994) *****  

Weezer  Make Believe  (CD, Geffen Records, 2005) **** 

Weezer  Weezer (a.k.a. the red album)  (CD, Interscope Records, 2008) ****  

Weezer  Weezer (a.k.a. the white album)  (CD, Atlantic Records, 2016) *** 

Genre: Power pop, Indie rock

Places I remember: The Virgin Megastore

Fab, and all the other pimply hyperboles: Buddy Holly (blue album)

Gear costume: California Kids, (Girl We Got a) Good Thing (white album)

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6; Part 7; Part 8

Active compensatory factors: I've already written about Weezer's Six Hits EP (you can read it here). Weezer's power pop approach means they are a band that appeals to me immensely. However, I'm not exactly sure how I ended up with four of their albums.

Weezer's lineup has been reasonably consistent throughout their recording years with only some changes in bassist along the way. Basically, Weezer is made up of Rivers Cuomo (lead vocals, guitar); Patrick Wilson (drums (1992–present); Brian Bell (guitar); and since the 2000's, Scott Shriner (bass).

The blue album is their debut from the mid nineties and it's a complete winner. Ric Ocasek, from The Cars, produced it and he knows what he's doing. He helps the band bring out the power and the pop and the fun!

Three big singles came from the album:  Undone – The Sweater Song, Buddy Holly, and Say It Ain't So, but there is no shortage of other singles potential. In the Garage is one example. It's their version of The Beach Boys' In My Room. Another is Surf Wax America.

AllMusic sums up the sound of Weezer on their debut by saying: [The band] skillfully fuses the raucous energy of punk, the loser-friendly geekiness of indie rock, the guitar power of grunge, and the huge hooks of radio rock -- then adds some heavy metal guitar heroics and Rivers Cuomo's oddball lyrical perspective. As I said - it's a winner!

Make Believe is their fifth album (they are prolific). Beverly Hills was the hit from the album (it would have fitted on their debut without any problem). The Weezer brand of muscly power pop continues to develop on Make Believe, with Rick Rubin producing.

The red album was their sixth. It's a different, mad, catchy, goofy, brilliant, fun album/sound. Each of the three coloured albums with the Weezer title have been relaunches of a kind. A new chapter to the Weezer story, if you will. Red album does the same as the band lighten up, share the lead vocals more than ever, and confidently dance to their own beat - which continues to be as catchy as all get out.

Their next reset, their tenth, was the white album from 2016. It's another great Weezer album with nods to The Beatles (the white album) and The Beach Boys (California Kids amidst others) and the blue album's goofy Weezer sound (Girl We Got a Good Thing). Yes - another winner!

Where do they all belong? Weezer consistently deliver power pop at its creative sweet spot.

Playing in the band (Bob Weir) (LP 4827 - 4828)

Bob Weir  Ace (Vinyl, Grateful Dead Records, 1972) ****  

Bob Weir  Heaven Help the Fool (Vinyl, Arista Records, 1978) *** 

Genre: Country rock, rock

Places I remember: Marbecks Records, Real Groovy Records

Fab, and all the other pimply hyperboles: Playing in the Band (Ace)

Gear costume: Bombs Away (Heaven Help the Fool)

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6; Part 7; Part 8

Active compensatory factors:  Playing in the Band sums up Bob Weir and this album because all of the 1972 members of The Grateful Dead (without Pigpen) appear on Ace. So, it's a Grateful Dead album in all but name. All but one of the songs would become part of the band's setlist.

Playing in the Band is also my favourite from Ace. There weren't any classic songs on his follow up from 1978 - Heaven Help the Fool. It tends to get a bad press because it tries a different, slicker, approach and it doesn't include any of his Dead buddies this time. It does have some good tunes and Bob's vocals are strong throughout. It's a bit under-appreciated I think, but then I love Terrapin Station!

Where do they all belong? I need to get a copy of his third and final solo album - Blue Mountain from 2016.

I wish (Jane Weaver) (LP 4826)

Jane Weaver  Modern Kosmology (CD, Fire Records, 2017) **** 

Genre: Dream pop, electronica, alt rock 

Places I remember: Courtesy of Tom Kirkham

Fab, and all the other pimply hyperboles: Slow Motion

Gear costume: Loops in the Secret Society

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6; Part 7; Part 8

Active compensatory factors: Tom gave me this album during his visit to NZ a few years ago with his mum. He knew I'd love this dream pop album by Jane Weaver - someone who was not on my radar at the time.

Yes, it's dream pop (Slow Motion is an excellent example) but it also has those jangling alt rock guitars that I love so much. Try Loops in the Secret Society for instance - Jane's vocals are sung over a motorik beat and some lovely guitar interplay.  

Pretty wonderful that she writes these songs, plays most of the instruments and sings them, What a talent!

Where do they all belong? Thanks for the introduction Tom.

Arrow (Waves) (LP 4824 - 4825)

Waves  Waves (Vinyl and CD, Direction and Ode Records, 1975) *****  

Waves  Misfit (CD, Ode Records, 2013) ***

Genre: Folk rock, NZ music 

Places I remember: Real Groovy Records, JB Hi Fi

Fab, and all the other pimply hyperboles: Dolphin Song (Waves)

Gear costume: Clockhouse Shuffle (Waves)

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6; Part 7; Part 8

Active compensatory factors: Waves debut album is an absolutely inspired one-off and one of my favourite albums of all time. I love harmonies, I love acoustic guitar singalongs, I love Waves.

The band: Graeme Gash, David Marshall, Kevin Wildman - all on guitar, Michael Matthew - bass guitar.

Dolphin Song b/w Letters on 45rpm (Direction Records) was my entry drug. I still have the single too. Dolphin Song is perfect, in that it evokes an idyllic watery feeling - alone - just me and the dolphin.

On to the album and it's just one beautiful song after another. There is nothing I would change. There is not one less than masterful musical moment. It's delicate and tough when it needs to be, the instrumentation has space to breathe, the combined harmony vocals are perfect for these songs, and the production is spot on - all bright and shiny with the vocals mixed perfectly. Waves and Roger Dawkins take a bow.

Five-star Wozza classic. Easy peasy.

Comparing it to Misfits (appropriate title) is interesting because it clearly shows that the first album has a magical x factor that is not there on the follow-up (which wasn't released anyway). They try hard but the magic from Waves had gone. It's by no means a bad album. Rather, I think it throws into stark relief the peculiar alchemy that made Waves so special.

BTW - GK and I saw Waves with After Hours at the Old Maid gig in 1977 that has become legendary. Quite an event (waiting outside to get in was a revelation to me - what's that funny smell? I asked GK).

Where do they all belong? Seminal band, seminal first album.

Song for winners (Nick Waterhouse) (LP 4823)

Nick Waterhouse  Nick Waterhouse (Vinyl, IL Records, 2019) ***  

Genre: Jazz, R&B

Places I remember: HMV

Fab, and all the other pimply hyperboles: I Feel an Urge Coming On

Gear costume: By Heart

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6; Part 7; Part 8

Active compensatory factors: While living in England, I saw Nick Waterhouse performing on Later...with Jools Holland and I loved his sound, so when I was next in HMV I bought this album.

Nick is a talented American singer, songwriter, guitarist and producer, but, unfortunately, I was initially disappointed with this purchase, as it didn't feature the jazzy sound that I'd loved on Later doing I Had Some Money (but I spent it).

Having listened to it since, it has grown on me, without hitting the heights of the Later spot.

Where do they all belong? I'd be tempted if I found a copy of Never Twice (it has I Had Some Money on it)