Among the many guitar legends the UK has, Paul Weller has certainly earned the right to offer up covers of his favourite artists. A passion project with no home, Find El Dorado is a search for new sounds in old material. Similar to Richard Hawley’s 28 Little Bangers, Weller has dug deep into his favourite songs and come through with influences in unlikely places. Short-lived artists, others who are not paid their dues as often as they should be, Find El Dorado not only highlights Weller’s grasp of great songs, but also showcases his strong taste in music. It is always reassuring when great artists have a taste in art which matches their work. Bob Dylan suggesting “The Oasis Brothers” and “Royal Blood” were among his favourites was worth pausing for thought. One of those so-called “Oasis Brothers” features on Find El Dorado, a tremendous collection.
Weller has found consistency in these later years, away from the thrills of The Jam and as a reliable songwriter on the fringe of the spotlight. He can open for Blur at Wembley Stadium and collaborate with Noel Gallagher, yet remains out of the loop for average listeners. This is why Find El Dorado works, though. There is no expectation set by the listeners returning to Weller time and again; they are simply glad to hear from him. Weller is not in search of the mythical city in his album title, but gets close to golden listening with strong covers of great songs. Tender vocal work, sharing sweet stories, is what Weller offers here. Opener Handouts in the Rain is a gentle one, setting the scene for relaxed listening to covers which make Weller’s reverence for these songs clear. This stripped-back styling suits Weller brilliantly. El Dorado offers a strong example of how much can be done with so few layers in the studio. The acoustic steadiness, the delightful vocal range, and the little additions made to those two fundamentals are what work so well for Find El Dorado.
Those countrified tones are not amplified all too much but are a constant presence for Find El Dorado. Crucial to the tone heard throughout Find El Dorado is a thoroughly compelling style. Much lighter than previous album 66 and feather-like compared to those days as The Jam frontman, the softer touch is a welcome one. It makes When You Are a King and Pinball that much more listenable. Weller takes on a vocal style which benefited The Libertines’ Pete Doherty on his latest solo album. Those deeper vocal tones, the softer touch from Weller, begin to run dry in the mid-section of Find El Dorado, but it is brought back into focus with the staggering work heard on Never the Same. Almost all of Find El Dorado will work if you find Weller to be a compelling voice. He has proven he is for decades, but this new style is a refresher course in what makes him a standout vocalist.
Lawdy Rolla highlights this change best of all. Weller sounds as though his time in the studio is a delight, as it should be when given the chance to cover his favourite songs. A few of the instrumentals Weller is paired with lack that vibrancy. Nobody’s Fool feels like standard fodder, a blueprint for what should have been developed further. Not every song can be a winner, and though Find El Dorado has plenty of great moments, its concept is light. Easy enough to get into, and just as easy to forget about. A handful of reminders regarding Weller’s strength as a vocalist, though his covers do not stand out beyond the occasional nice moment. Do they need to? Not really. Daltry Street is a nice near-end album track which highlights the lightness, but also the lovely nature, of Find El Dorado.
