Cons) in that the song content is far more politically brash and thematically cohesive.
Songs such as Burning Sky, Wasteland, Thick as Thieves and Little Boy Soldiers directly reference a jettisoned Orwellian-inspired song suite about three childhood friends who reunite as adults following a wartime conflict (the album cover is a photograph of a bronze statue from the permanent collection of London’s Imperial War Museum) only to discover that they have drifted apart.
Released a month before The Clash’s iconic London Calling, which laid out its socio-political worldview in broad and sometimes punishing strokes, Setting Sons (accompanied here with tour programmes, fanzines, a book and demos) defined Weller as a songwriter who, like his creative mentor, The Kinks’ Ray Davies, preferred to highlight comparatively parochial scenarios in finely detailed miniature. Each band has their respective champions, of course, but if there’s a prize for a 1970s songwriter that used words instead of slogans to better effect, then Weller takes the gong. paulweller.com/thejam