An engaging and varied collection of covers...
Back in 2004, Paul Weller released his initial covers album, ‘Studio 150’. Depending on the perspective, it was either seen as the low point of a creative slump that the former Jam member was experiencing (as both 2000's ‘Heliocentric’ and ‘Illumination’ two years later received a tepid reception) or as the artistic inspiration needed to launch him into a fresh start.
Fast forward 21 years, much has evolved. Still enjoying a remarkable period, Weller isn't searching for new concepts but instead taking a sidestep after extensive exploration of music. While ‘Studio 150’ featured renditions of several classics (‘Close To You’, ‘All Along The Watchtower’), on ‘Find El Dorado’, he reflects on capturing the essence of a specific, predominantly British era. As a result, perhaps only ‘I Started A Joke’ (originally by the Bee Gees, now imbued with a grand quality) will be familiar to the average listener.
That said, the album includes contributions from noteworthy songwriters, predominantly Ray Davies of The Kinks, represented not by one of his band's songs but by ‘Nobody’s Fool’, the theme from the 1970s TV series Budgie. However, Davies (who recorded under the name Cold Turkey) did not hide his innate talent for melody, and Weller treats the track with the respect it merits. The title character was also known for his stylish attire, something Weller likely noted.
Stylistically, the album leans towards the pastoral side of Weller’s body of work, but from Richie Havens (‘Handouts In The Rain’, featuring a co-vocal with Declan O’Rourke) to Christy Moore (a medieval take on ‘One Last Cold Kiss’), the song selections seem to be thoughtfully curated with care and insight. There’s a cohesive melancholy throughout, highlighted by the minimal and straightforward production from Weller and Steve Cradock, along with longtime collaborators like drummer Steve Pilgrim and saxophonist Jacko Peake.
Nevertheless, ‘Find El Dorado’ steers clear of comfortable nostalgia. It features lesser-known tracks like Brian Protheroe’s ‘Pinball’, which gained notoriety for ‘inspiring’ (i.e., being openly copied by) ‘Riverman’ by Noel Gallagher’s High Flying Birds, and The Guerrillas’ ‘Lawdy Rolla’ (not available on streaming services). Additionally, Weller has revived rarities such as ‘Where There’s Smoke There’s Fire’, an overlooked funk gem from 1984, giving them a chance to shine. Through his extensive network, various artists join in, but the collaborations remain understated, never ostentatious: Gallagher contributes guitar on the quasi-title track ‘El Dorado’; Seckou Keita's kora adds sparkle to ‘Journey’.
‘Find El Dorado’ exemplifies Weller’s post-’22 Dreams’ acceptance of eclecticism. He delves beyond just what’s trendy, bringing songs back to life based on their feeling, rather than their style. Each cover represents a small transformation, culminating in an emotive duet with Robert Plant on Clive Palmer’s ‘Clive’s Song’. Far from being a filler project, ‘Find El Dorado’ emerges as a well-rounded artistic statement, solidifying Weller’s role as a relentlessly inventive interpreter of music once again.
Rating: 8/10
Author: Richard Bowes
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In 2004, Paul Weller put out his inaugural covers album, ‘Studio 150’. Depending on the source, it was viewed as the lowest point of a slump at the turn of the century.