Thursday, February 13, 2003
Copyright © Las Vegas Mercury

CDVS

Rock 'n' roll used to represent The Good Fight. It was a celebration of rebellion, political and social assertion, identity and free expression, among other things. There are still traces of all that in today's version of the medium, but these days it's more about the Fight to Remain Relevant. With the disposability of so many modern acts and the struggle for exposure making rock music more of a marketing exercise than an aesthetic one, most artists are desperately working toward finding an enduring credibility, as well as an audience to appreciate it. This especially appeals to performers who have seen the heights of rock 'n' roll reverence, only to be left behind by subsequent generations and musical cycles.

British singer-songwriter/guitarists Paul Weller and Johnny Marr don't seem as fixated on relevancy, and if they are, they don't seem as bothered by their diminished presence as others. Still, they're not leaving without a fight, one that combines the original ideals of rock with the modern aspirations of being worth something.

Weller--founding member of the English mod act the Jam, as well as the artier Style Council--is, like most artists from across the pond, a cult figure here in the States. On this year's easygoing yet rollicking Illumination, he's rediscovered his groove, returning to the folky R&B that highlights mid-'90s efforts like Wild Wood and Stanley Road. But not all is return-to-form. While leadoff track "Going Places" is as reliable as an old friend, a song like "It's Written in the Stars"--intro'd by a proclamatory horn loop you might find on a hip-hop number--employs techniques novel to Weller's otherwise traditionalist approach.

The album (complete with plenty of bonus material for U.S. buyers) is remarkably consistent and confident. Like recent releases by Bob Dylan, U2, David Bowie and Elvis Costello, it updates the sonic distinctions of its veteran creator, minus the nostalgia trappings or feigned urgency. Weller's legacy is like wet cement--fresh, unsettled and impressionable.

Marr--guitarist for one of the most influential bands in British music history, the Smiths, and influenced by Weller--had been righteously slutting himself around as a guest player for so long, many wondered if he'd situate himself in a steady band. As far back as 1997, he'd been writing songs with other Brit musicians, like Ringo spawn Zak Starkey and former Kula Shaker bassist Alonza Bevan, and, after testing the material during various tours, recorded Boomslang with the aforementioned musicians (now called the Healers).

Boomslang is an exercise in subtlety, as Marr seems more interested in evolution, not reinvention. He now sings atop his guitar playing, and while neither task jumps out at the listener, he handles both ably. The songs themselves aren't overtly passionate or direct, but they glide along with the Brit-rock cornerstones: a hazy approach to the blues and a strong sense of rhythm, both carrying a mild psychedelic affectation. It's not as notable or evocative as Illumination, but it has charm, and it warrants an interest that should follow him--and Weller--for the rest of their careers. They've earned as much.--Mike Prevatt