By Jan Vranken 
Twenty-one years after his first covers album “Studio 150”, Paul Weller returns to reinterpreting songs by others with “Find El Dorado”. Where his earlier attempt still felt like the work of an artist trying to regain his creativity, the 67-year-old Modfather now presents a thoughtful and personal statement. This is not a random collection of favourite songs, but rather an emotional and musical DNA map of an artist who has displayed exceptional musical taste throughout his entire life.
The album opens with “Handouts in the Rain” by Richie Havens, in which Weller, together with Declan O’Rourke, delivers a timeless ode to social injustice. The production by regular collaborator Steve Cradock is remarkably restrained, making room for subtle arrangements by Hannah Peel. This subdued approach characterises the entire album and allows Weller’s mature voice to come into its own optimally. The songs are mainly from the early seventies, when Weller himself was a teenager, and reflect a period when he was forming his musical taste.
The song choices testify to Weller’s eclectic taste and his ability to find gems in the most unexpected corners of music history. “Nobody’s Fool”, originally the theme of the television series Budgie and written by Ray Davies under the pseudonym Cold Turkey, receives the reverence it deserves. “Lawdy Rolla” by French formation The Guerrillas is transformed by Weller into a powerful gospel-rock interpretation, while “Where There’s Smoke, There’s Fire” breathes new life into a forgotten funk gem from 1984 by Willie Griffin.
The guest contributions are carefully chosen and add value without dominating the album. Noel Gallagher plays unobtrusive guitar on the title track “El Dorado” by Northern Irish songwriter Eamon Friel, while Robert Plant lends his distinctive voice to the closing “Clive’s Song” by Hamish Imlach. This collaboration between two legends from different generations forms a moving highlight in which both voices are elegantly interwoven.
Weller’s interpretation of “I Started a Joke” by the Bee Gees shows his ability to give familiar songs a new dimension without losing their essence. Brian Protheroe’s “Pinball” from 1974 receives a melancholic saxophone solo by Jacko Peake, while “One Last Cold Kiss”, made famous by Christy Moore, breathes a medieval atmosphere thanks to Amelia Coburn’s contribution.
The album succeeds in creating a coherent listening experience despite the varied sources. All songs share a melancholic undertone that suits Weller’s reflective phase of life. The production is deliberately kept sober, with acoustic guitars, subtle strings and sensitive pedal steel guitar taking the lead. This minimalist sound underscores the intimacy of the interpretations.
Where “Studio 150” sometimes felt forced, “Find El Dorado” radiates natural warmth and authenticity. Weller clearly demonstrates why these specific songs have touched him and succeeds in conveying that emotional connection to the listener. The album functions both as a personal statement and as an educational journey through lesser-known corners of pop music.
The only critical note concerns some moments where Weller’s vocal approach becomes slightly too heavy, breaking the intimate atmosphere. The album could also have benefited from a somewhat tighter selection, as some tracks make more impression than others.
“Find El Dorado” confirms Weller’s position as one of the most adventurous and music-loving artists of his generation. The album shows an artist who is still curious about music and willing to set his ego aside to serve the songs. For lovers of both Weller’s work and hidden gems from pop music, this is a valuable addition to his extensive catalogue. (7/10) (Parlophone Records)
Maxazine South Africa