Paul Weller’s rebirth in the 90’s gripped the general public’s attention fourfold, the rising of this mod giant beat anything that a magic bean planted in the ground could achieve.  Stuart Deabill, Steve Rowland and Paul’s sister Nicky have collectively come together to deliver a stupendous book dedicated to this period featuring unprecedented access to archive from the Weller family along with Weller long time photographer Lawrence Watson and a long line of associates and fans who all wax lyrical of their love for the Modfather.

Gigslutz grabbed Stuart and Nicky for a quick chat about the book:

In The Shadow Of The Sun follows the adventures of Paul Weller through the 1990’s. Why compile a book around this period?

Stuart Deabill: Myself and Steve wanted to create a book in the spirit of our Style Council one — a celebration of what felt like the last great pre-digital decade, when the music business had a few mavericks. Focusing on a single ten-year period also kept the project manageable — anything broader would probably have taken another 18 months. At its heart, the book documents Paul Weller’s rise from unsigned songwriter to million-selling artist, but more than that, it’s a celebration of the music, the artwork, the live shows and the wider culture that made the era so special.

What do you think drove him on to write the classic album Wild Wood? He was embracing different music such as Nick Drake wasn’t he?

SD: The 90s was such a rich period for music and Paul was not only digging the sounds of the time from Hip Hop, Nu Soul, Acid Jazz, etc but also the beards and long hair folk/rock from the 60s/70s which all mixed in to his consciousness. Brendan Lynch talks about this period in the book, and the pointers Weller gave him for the sound of Wild Wood and working at the Manor, with great fondness.

The clothes and style Paul was wearing in this period are iconic, like the orange leather jacket, Paul Smith tank top and those desert boots. Does the book show off Paul in some iconic outfits?

SD: Yes, whether it’s a sound check, live, recording studio or a video shoot, the many haircuts and clobber is covered. There was a pair of old school Jesus boots we cropped out though.

Live Wood in my opinion is Paul’s best solo live album with a live band. His band of Steve White, Steve Cradock, Yolanda Charles and Helen Turner never played a bad gig as far as I’ve heard?

SD: Not that I saw or heard.

Do you think his appearance on Jools Holland playing Sunflower, Has My Fire Really Gone Out? was him showing he was back to his best?

SD: That’s an amazing performance on that show, along with Sunflower. You felt Paul was coming through the telly it was that intense. Plenty to prove still. Steve White talks about this appearence in the book.

The sleeve designs from this period echoed visuals from the likes of The Small Faces. Is this discussed much in the book?

SD: The artwork for Advertisements, VHS, CD’s, cassettes and vinyl feature heavily but not really discussed. The books very much picture led so we decided to concentrate on getting as many images as possible within the pages, which tells its own story. I very much felt less words is more, for Shadow. Most people glance at coffee table books rather than devour, so we were conscious of making the pages, colourful, vital.

Following Wild Wood came the multimillion seller Stanley Road and similar success Paul faced with The Jam. Do you think Paul enjoyed this period and does the book display a narrative of these times?

Nicky Weller: I think he loved this period… massive success again and a record label that let him get on with it.

Are there many in the studio photos included in the book?

SD: Yes, we worked closely with Lawrence Watson who did many sessions with Paul and there’s a few we’ve included that haven’t been seen before.

Paul’s break up with Dee C Lee seemed to influence his last album of the 1990’s Heavy Soul with the likes of the title track and I Should’ve Been There To Inspire You seemingly showing Paul’s sensitive side. Paul seemed to be vocalizing his problems through song at this time?

SD: I’ve got no idea mate. You’d have to ask PW.

Looks wise the photos from this album show Paul looking really smart, longer sideburns, Fred Perry tops and great loafers. Lawrence Watsons photos capture some great moments from this time, are many shots from the album included?

SD: There’s a few yes.

Why do you think this period of Paul’s solo career is still cherished by many of his fans?

SD: They were great gigs to be at and the records stand the test of time. It was a golden period of music and most of the audiences were still relatively young. The fact the music press was less than complementary meant we all closed ranks as a following, I think. Funny how some of them now admit they were wrong. All that Dadrock shit. I met some proper cool people in that period. Dressers, clued up.

For many of us who were there from Jam days, it was just a joy to see Paul pick up a guitar again as well. I was lucky enough to be at Glastonbury in 94, and I was sober enough to know I’d just witnessed one of the greatest performances of my lifetime. That passion never left me and this is my long love letter to the music and the decade.

NW: Paul’s fans seem to love everything he brings out …and still do …very loyal.

Do you think there will be further books showcasing his other decades as a solo artist?

SD: See how this one goes first.

NW: Maybe

Finally, is Paul a genius?

SD: Yeah I think so. A god given talent crossed with hard core working class ethics and style. Not many like that. Makes a nice cup of tea as well.

 

In The Shadow Of The Sun can be ordered here

A book launch will be held at the 100 Club, London 11.6.26, tickets available here