Weller's fifth solo outing comes as a revelation – eschewing the earnest electric riffery of recent offerings in favour of a more delicate, acoustic backed, but ultimately more engaging collection of songs all driven along by the ultra impressive drumming of Steve White, and Weller's own underplayed guitar work.
And if word has it that Weller is still firmly rooted in 60s nostalgia (Nick Drake's string arranger, Robert Kirby is on board) then it's interesting that opener 'He's The Keeper' owes more to Blur's '13' than it does to 'Ogden's Nut Gone Flake' with a Damon-esque vocal and Steve Craddock's restrained if Coxon like power chords laying the groundwork for a brooding introduction..
'Frightened' is an early treat, Weller's 'one man and his piano' act perfectly realised in a song that comes as an introspective counterpart to 'Stanley Road''s brilliant 'You Do Something To Me'. 'Sweet Pea, My Sweet Pea' would have graced 'Every Picture Tells A Story' – it's acoustic intro riff and descending guitar figures echoing the deceptive simplicity of early 70s Faces. It's easy to fall flat on your face writing songs about your kids, but Weller's pulled it off with consummate ease – even if he did need three attempts at it in front of daughter Leah at the recording of Jools Hollands 'Later' last week.
'The Whale' sees Weller railing against those who would know, hunt, own him… evidently the latest body blow to an 'industry' that all but washed its hands of him ten years ago. A number one placing on this Sunday's album chart looks set to provide further humble pie for his former employers.
'Back In The Fire' could be a lazy, hazy, Surrey summer afternoon dreamscape save for the masterful presence of Steve White's drumming – magnificent throughout the album – it's whirling Echoplex finale and Weller's revealing sleevenote scrawled reminder to 'sing better' on the middle eight. It should be said that he's never sung better than on 'Heliocentric'.
'Dust & Rocks' is a good example. Weller may never quite match Steve Winwood for soul or Paul Carrack for sheer sweetness, but his emotive vocal is unaffected, distinctive and assured. There was a time Weller gave up playing the guitar because he claimed he'd stopped improving. The same can't be said for this most English of voices – or his keyboard playing come to that. And when he's sung what he had to sing, we're left with some understated strings and a soaring guitar line that eats its way deep into your brain.
Scooter owners will be happy that Weller and Craddock finally get to do guitar battle on 'There Is No Drinking , After You're Dead', it's clipped riff and punching snare drum reminiscent of 'Start' until the strings and almost Eastern melodic twists kick that ancient memory into touch.
Mini-moog, glockenspiel and strings tip their hat to the 60s as 'With Time And Temperance' begins and Weller's vocals drift in and out of a beguiling instrumental mix. This takes us directly through to the Korg organ and Hurdy -Gurdy driven 'Picking Up Sticks' featuring some deft steel guitar and low in the mix over-driven electric guitars – a chance for the musicians to stretch out and show their colours - White's succinct drum solo rounding things off magnificently.
Musicians sated, we're back to the song as king as Weller belts out the closing 'Love-Less' off-mic. Over big piano, lush strings, subtle horns and Damon Minchella's impossibly grrovy bass line the whole thing swirls psychedelically off into the distance on the back of Weller's plea, "I've gotta need to be loved, yes I want to be loved". On this form Paul, you'll be fighting them off with a stick.
by Andy Strickland