New series dusts off pivotal albums from Paul Weller, New Order and the Specials
British doco series Record On sidesteps expected names like Bowie, Madonna, Prince and the Eagles.
Some years ago, the television documentary series Behind the Music often reduced artistic careers into a convenient arc: the early struggle; success and fame; indulgence and emotional collapse; rehab or redemption. Or death.
A creative life rarely distils in this way, so more interesting and insightful music documentaries are those finely focusing on an album or moment, with the artist’s backstory for context.
The British series Record On sidesteps expected names – Bowie, Madonna, Prince, Eagles, etc – and picks seminal albums by Paul Weller and New Order and looks at The Specials.
Weller had enjoyed two successful careers – with The Jam and Style Council – before his second solo album Wild Wood (1993), a collection born out of disenchantment, rediscovering his creativity, finding a more relaxed vehicle with pastoral and philosophical elements, tapping subconscious memories and recording live.
It was mostly a quieter album (he had discovered Nick Drake at the time) which led to a successful reinvention and, by coincidence, music that aligns with his recent reflective albums On Sunset and the current 66.
If Weller’s career was winding down slowly post-Style Council, critically acclaimed Joy Division’s came to an abrupt halt with the suicide of singer/lyricist Ian Curtis. But as bassist Peter Hook observes, “Rather than deal with the grief, we just threw ourselves into recording and writing and it was our way of ignoring it.”
Reinventing themselves as New Order, they arrived at their second album Power, Corruption and Lies in 1983. But the audience still wanted Joy Division, their producer Martin Hannett spun out into addiction so – left to their own devices – reinvention was thrust upon them.
Influences from New York dance and club culture led to the classic single Blue Monday and, soon after, Power, Corruption and Lies. Bridging the divide between pop, indie rock and dance music, these took them from clubs to stadia.
“Unbelievable that four tossers can make you celebrate life. I’m so delighted I’m one of them tossers,” says Hook in the candid documentary about an unexpected rebirth as innovators for the second time.
The Specials – emerging from multicultural Britain to bring politics and ska to barricades, concert halls, radio and television – were “the combining of two cultures to make something joyous”, says bassist Horace Panter.