Paul Weller
Studio 150

The last bastion of Mod culture and none other than the progenitor of Britpop, Paul Weller is known by all as the "Modfather" and continues to tread his torturous path amidst the treacheries of the music market and the media, whose sole amusement seems to be bombarding us with "musicians" lacking their own artistic identity.

You know, more than once, one finds oneself in a state of extreme indecision on how to structure one's "CD Compilation", in which to encompass the pieces of the bands that, during that period, fall into our grasp. Let's be clear, that clever Weller with his latest work has done the same thing; in essence, he wanted to honor those who inspired him in previous years, a sort of indoctrination by the sacred monsters who brought out the best of his artistic and expressive spirit. Paul has always had a keen proficiency in working with pieces not his own and from this interest comes his latest work, Studio 150, a reinterpretation of 12 tracks in Britpop, Rock style, with some Funky tastes, and that sweet aftertaste discovered by listening deeply to the album. The loyal ones who secluded themselves in the recording studio, namely the 150, are guitarist Steve Cradock, bassist Damon Minchella, and the indispensable drummer Steve White. The result is a work mixing grit and sweetness, with passionate shades and a breath of freshness in the rhythms that makes the album enjoyable.

It starts right away with "If I Could Only Be Sure", an emotional slap, a throwback to the Mod era of parties, the dancefloor with that pulsing Northern Soul-style beat of Nolan Porter; an infectious rhythm that leaves you bewildered in the middle of a room with dim lights but filled with people immersed in the seductive and gritty music. After the enveloping sound of the first track, you dive into a state of narcosis and exhaustion from which there is no escape, "Wishing on a Star" is a relaxing ballad with strokes of harps and vivid electric velvet guitars. The daze is not long-lasting because you're quickly brought back with the lively and charged "The Bottle", a keen social denunciation by African-American activist/polemicist Gil Scott-Heron, a sound with a typical Funky stamp, a blend encapsulating a galloping rhythm produced by the right dosage of Sax, Flutes, and Wah Wah. "Black is the Color" represents the poignant and dramatic part of the work, a famous traditional ballad featuring the melancholic violin of Eliza Carthy. The captivating parade of sounds concludes with "Birds" which receives a Spiritual treatment, focused on Weller's piano arrangement.

This album showcases all the multifaceted and polychromatic aspects of his musicality, from Rocker to Singer-Songwriter, from the pop-soul caresses of the period with the Style Council to the acoustic guitars that dominate within the album; it also presents all of Paul's qualities: energy, melody, and conciseness. A cocktail that never jars by mixing the ingredients in the right doses, without excesses or musical experiments that might ruin its integrity.