Having been 'in his own world' he said he hadn't really taken the music in before then. Read more: McFly sought group therapy before making their comeback
I didn't know what pop was."įletcher took him to one side and sang him a bit of the Backstreet Boy's song Tell Me Why and his response was: "Mate what is that? That's amazing."
He said: "Everyone laughed because to me that's what pop was, a popular person. Tom Fletcher and Danny Jones of McFly at The O2 Arena in November 2021 (Getty Images)
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Listen to the full episode to hear Danny talk about embracing his love of food on Celebrity MasterChef, and his craziest stories from two decades in music, from embarrassing auditions, to dinner with Elton John Though once his mum realised what was going on, he said she was in the corner 'laughing her head off' and 'on the floor' as he looked around at others in the room pulling their moves.īut he said his mum knew it was important to get in front of the managers and the big players in the industry, and she was right given that he met Fletcher there who was filming the audition, having been signed as a songwriter. "Literally thinking I was Liam Gallagher, I had the Parka on, the long hair down the sides over my ears, the Paul Weller hair cut." "I was just about to go to college," he told Thornton. Whether anyone else follows him, well, that's really none of his concern, but with albums like this one it's hard not to at least sit up and take notice of Weller's creative renewal.He described realising that everyone else there was expecting to dance, and admitted a mis-alignment on the printed advert he'd seen made him think they wanted guitarists, where in fact it said: 'No guitarists'. Weller, on the other hand, simply brings his musical baggage along with him wherever he goes, unpacking or picking up new things as necessary. Artists Weller's age often falter trying to chase the past. That's just about a half-hour shorter than 22 Dreams, but the disc in turn is twice the fun. Most tracks top off at the mid-two minute mark, and even at 16 songs Wake Up the Nation totals a mere 40 minutes. That the disc doesn't fall apart is a testament to its restless efficiency.
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Scattered throughout are everything from free jazz flourishes and psych-freakouts like "Find the Torch, Burn the Plans" to introspective Dylan ditties like "Grasp & Still Connect", and, on "Up the Dosage", even a bit of disco. "Two Fat Ladies" recalls the larger than life riffage of prime Who Weller's love of soul is reflected in "No Tears to Cry" (Northern soul) and "Aim High" (blue-eyed funk). Then again, the disc is practically teaming over with Weller's various interests and influences, past and present. In fact, the propulsive low end runs of "Fast Car/Slow Traffic" almost seem designed to showcase Foxton and reference Weller's old sound. And then there's the unlikely presence of former Jam cohort Bruce Foxton on bass, recording with Weller for the first time in nearly three decades. Move/ELO drummer Bev Bevan shows up on a couple of tracks- the deliriously loose title track and opener "Moonshine", which finds Weller in ramshackle, rough-around-the-edges VU territory. The biggest name enlisted to flesh out this rollicking and free-ranging set, however, is My Bloody Valentine's Kevin Shields, who crops up on "7&3 Is the Strikers Names" to help further blur the edges of the wobbly psych-rock confection.
One familiar name who returns on Wake Up the Nation is frequent Weller producer and collaborator Simon Dine, who reportedly first delivered several of these songs to Weller in sketchy, abstract form and thus inspired the man to dive back into work.
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