Although PAUL WELLER - AKA The Modfather - is a long-established favourite round Whisperin' and Hollerin' Towers, even we had to admit he seemed to stumble into a rut around the time of the bloated and/ or underachieving "Heavy Soul."
Weller's last 'proper' studio album "Heliocentric" showed some vital signs returning, but it was only last year's acoustic "Days Of Speed" - where the Wellster revisited his Jam and, er, Style Council glory days - that truly set him on the road to recovery.
So, it's great to report that "Illumination" finds him rested, recuperated and re-animated and - especially during the opening quartet of tunes, truly breathing fire like only he can when on real form.
Opener "Going Places" cruises in, stuffed with semi-acoustic melody and sweet, persuasive vocals duelling with upfront organ. It's vintage Weller and you get the feeling he's not even breaking sweat.
"A Bullet For Everyone" is more the nostrils-flared, pissed-off Weller we love so much, however. Bearing in mind the current, Saddam-baiting climate, it's timely: bluesy, but energetic, proffering fruity organ, wailing harmonica and a searing guitar solo. Almost like a seen-that, been-there older brother of "A' - Bomb In Wardour Street" it finds Weller spitting "there's blood upon each handshake" at George Dubya and his pet poodle Tony Blair.
With the notable exception the stinging "Call Me#5" where guest vocalist Kelly Jones for once makes himself useful, and "...Bullet"s soulful, mellow cousin "All Good Books" - where Fender rhodes and organ complement crisp drumming and Weller's wry Biblical/ anti-war images - there's little further social comment. But then if we were still expecting another "..Tube Station" we'd have got off a long while back.
Besides, don't make the mistake of thinking that Weller's fire has been extinguished even in his more pastoral moments. A title like "Leafy Mysteries" and a lyric mentioning "dappled orchards" may suggest the worst excesses of the Canterbury scene, but the track itself is beefed up by some ludicrously energetic Townshend-style powerchording and comes in like a distillation of late period Jam and solo Weller circa "Changing Man." And we haven't even got to "It's Written In The Stars" yet. The fabulous recent single, it kicks off with a surprise horn sample and launches into an easy-going and utterly infectious Northern Soul- style stomper. Smashing, in a word.
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The pace does drop, of course, but even here for the most part Weller succeeds. "Who Brings Joy" could sound horribly mawkish in less skilful hands, but here it's downbeat and special, with a very live acoustic feel and Weller crooning "I just want to be here for you" without the slightest tinge of embarrassment.
There are a couple of duffers. "One x One" features Noel Gallagher and Gem Archer strumming away tastefully, but even their presence fails to disguise its' plodding facade, while only the most ardent fan could truly love the naff instrumental "Spring (At Last)". Featuring Aziz Ibrahim, flutes and far too much backwards tape malarkey, about the best you can say is yes, Weller really loves Traffic, doesn't he?
Still, this shouldn't be allowed to obscure the facts that "Illumination" is the best Paul Weller album for some time and that it renders him especially relevant in an era allowing crap people cheap celebrity regardless of their flimsy talent. Victor Meldrew with a suntan he may be, but this reviewer for one is glad someone still has the guts to carp and complain. Lord knows, we need more like him.
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