JOE MORE AND MORE ALBUM PLUS
Black Barn consists of a large, comfy studio, an adjoining office (platinum discs, selection of old photo-booth pictures), plus the house next door, with garden and trampoline. “I was working a three-day week.” He had “four or five” tracks left over from the recording of his previous album, the chart-topping On Sunset, so he worked on those at his home in London before popping here, to his Black Barn Studios, every so often. “Nothing else to do, was there?” he says. Work-wise, though, his lack of patience seems to have become even more acute recently he’s brought out an album every year for the past four years, and used the most recent, locked-down 12 months to create his 16th solo record, Fat Pop (Volume 1). Though he’s not cross all the time, by any means. By his taste shall ye know him (he’s also wearing old Prada trousers, and a jumper he designed himself for Ivy League outfitters John Simons)… alongside a just-under-the-surface anger, a time-is-ticking impatience, a suspicion of the elite. He is, and has always been, about music, and clothes, and details. In an inconsistent world of ever-changing rules, Weller is a constant. “This part here used to be a few millimetres deeper,” he says. He is explaining the subtle differences between this pair, and another pair he owned a few years ago. I n the kitchen of a recording studio, down a long lane, off a village high street, stands the wiry, wired figure of Paul Weller, looking at his shoes.
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