The Jam, largely classic rock, may have been pseudo-punk at times. This does not apply to former frontman Paul Weller though, who mainly relies on softer British rock or alternative. Think the smooth vocals and jangly guitar rhythms of any post-eighties alternative band like Pulp. He has been at the solo work for some time, since 1992, with moderate commercial success.
To compare Paul Weller to Johnny Marr may be sacrilege, but to a younger person the similarities are uncanny. They both make a living crooning over pop-rock rhythms about romance, and they both stand with that classic Brit Rock posture, slightly to the left with a half crescent smile. Maybe this is just a Brit Rock thing.
A more relevant comparison might be to his early contemporaries such as The Rolling Stones, Chris Spedding, or even Paul McCartney. All of which play rock comparable to his solo material in attitude as well as style.
Saturn’s Pattern is similar to those artists as well. When compared to the Brit Rock offbeat mechanisms he has used in previous albums, this is a lot more contemporary classic rock, think Neil Finn. This is good, because his guitar playing is really solid. It opens a little slowly with “White Sky”, which is rather underwhelmingly simple and lacking in energy. Fortunately, the next song up, the title track “Saturn’s Pattern”, is heavy on the piano and syrupy guitar that combines for great energy.
Thematically, this album is really positive, and it shows in the lyrics to “Long Time” and “Phoenix” where he is really optimistic. Like most people who mellow out as they get older, Weller wants to enjoy life. “For such a long time / I couldn’t find myself,” and “I got nothing on my mind / Only love that’s coming” for “Long Time” and “Phoenix”, respectively. Musically, “Long Time” has solid guitar, but “Phoenix” is where his compositional work really shines. Treading through the album, tracks like “Going My Way” and “Pick It Up” flounder a little bit with overly simplified rhythms. “I’m Where I Should Be” is more positive vibes, but more underdone music, with almost a reggae drum feeling oddly. Moving on to “In the Car…” though is really interesting, with a hopping bass line for a solid fuzzy romp.
Continuing with the theme of describing life is the final piece on the album, “These City Streets”, which may be a good song, even if it is not the catchiest. “These City Streets” is just a solid jam on romance and there is nothing wrong with ending on that high note.
Saturn’s Pattern is a solid offering that not only builds upon previous albums, but also betters them. It may not please people who have not been exposed to British Rock of the ‘70s through ‘90s. For fans of Paul Weller though, it is exactly what one would want. More solid rock with light guitar and high-spirited vocals.
