Paul Weller [ tickets ] is best known as the Rickenbacker-slinging frontman of the neo-mod British punk-trio The Jam [ tickets ], which had more British-pop success than any other '77-explosion punk act. Nonetheless, it would be their chums The Clash that broke through in America.

Weller's next group, The Style Council [ tickets ], scored hits with its continental jazz-pop in the '80s but eventually ran aground. By 1990, Weller was without a band and a record contract.

He re-emerged in the '90s--this time as a solo artist--scoring critical and popular acclaim with his second album, the folk and soul-informed "Wild Wood." Weller has since pumped out a series of solo records that, while traditional in many ways, tend to dictate fashion rather than follow it.

In the last year, Weller, obviously reinvigorated, released the new studio album "Illumination," which produced several UK Top 10 hits, including "It's Written in the Stars," a collaboration with electronica act Noonday Underground.

This month, Weller releases the DVD "Live: Two Classic Performances," which consists of a concert in London's Hyde Park and an acoustic set from "Later ... with Jools Holland."

At the start of his current 12-date U.S. tour in Los Angeles, Weller spoke via telephone with liveDaily about playing Jam songs, politics, Beyonce, family and Chicago soul.

liveDaily: You're playing some Jam songs and Style Council tunes alongside your solo material this year, which you normally don't do. Why change now? I've heard that it had to do with your experience with the live-acoustic album "Days of Speed."

Paul Weller [ tickets ]: Yeah, I think doing that acoustic tour broke down a lot of barriers for me. I was able to see the songs as a part of my history and make-up. I've always been conscious of not trading on old songs. There are people that that's all they do. I've overcome that thing. It feels good now.

What older songs from your library are you digging out for this solo tour?

I can't tell you! It'll spoil for the people coming to the gig. Some Jam and Style Council songs. I'm doing a couple anyway. A mixture, but mainly stuff from the solo albums.

How do you find touring America? Which places are your favorites?

I kind of like anywhere. The Chicago show back in February was great. We did two shows over in L.A. that were really good. Any night can be fantastic for me. That spontaneity is part of it for me. It's part of what keeps you coming back.

It's a music country, isn't it? One of the nice things about America is that people aren't besotted with whether you are wearing the right shoes and right color socks or not, whether you are in fashion or out of fashion. It's nice to come over here.

Have you ever considered making a record here in the States?

I haven't, until recently. We did a radio session in L.A. in a small studio; I think it was once owned by Fleetwood Mac or something. It was a small studio with a nice, natural, acoustic sound. I've only ever recorded in the UK. Recently, I went to Amsterdam to record. For the next record, I want to get into a different environment.

You've done a lot of collaborations recently: Noonday Underground, Death in Vegas, and with Chicago native Terry Callier. Any new collaborations? What's this about working with Robert Wyatt?

I did a track with [Wyatt] a few years ago, "Free Will and Testament," on his album "Shleep," and I played on something more recently. He has a new album coming out and I did some guitar work on it, though I don't know whether he used it or not. He's got a unique sound, got that jazzy edge. He played me one new track that made me think of Hendrix; it had that kind of sonic assault. It wasn't that I was a fan originally. I got to work with him by chance. We just happened to be recording in the same studio.

"A Bullet for Everyone," from "Illumination," might be your most political tune in a while, at least since The Style Council [ tickets ]. Is this an indication that the political/social critic is making a kind of comeback in your writing?

I just write 'em as I feel 'em. That might be a bit of a cliché. I couldn't say that it sets a trend. [There's] this whole war thing that's going on, and I don't see how it's going to stop. It's obviously at the forefront of a lot of people's minds.

You seem to have your ear to the ground in terms of new music. I heard you like The Coral? Anyone else?

I really like the Coral record. I think that it is quite amazing that they are so young and so accomplished. I also really like some of the modern R&B. I like that Beyonce single; it's got a great sound. The Libertines are quite good. I really like the Black Eyed Peas single, "Where is the Love?" I like D'Angelo as well. I've been listening to a lot of Charlie Mingus.

And Donny Hathaway?

I love Donny Hathaway. Do you have the "Live" record?

[extended discussion of Donny Hathaway, his drummers, bassists and Chicago musicians and Curtis Mayfied ensues ... ]

I tell you who I like is The Roots from Philadelphia. Have you heard them? Also, I really like that Pharrell song, a bit like Curtis.

In the last year, there's been a lot of great records. It's almost a renaissance. Nice to be able to go buy some decent records after five years of this pop star s---.

You've played punk, psychedelic pop, jazz-pop, even tried your hand at house. You've ranged pretty far. Are there any styles you'd like to try that you haven't yet?

I'd like to do some sort of soundtrack music--pop and rock instrumental and orchestral stuff, but it's not a burning desire. So not really. No. I've covered a lot of bases in my time. I love most music, really. But I always seem to come back to the soul and R&B thing.

"Illumination" is a rawer sound for you, and I think it really suits you. After working with Brendan Lynch for some time, you recorded it yourself. Do you enjoy producing yourself in the studio?

I don't know if I enjoy it. It's like having your tooth extracted. Half a dozen of the songs from the new album were demos and first takes. When it sounds right and everyone's smiling at the end of it, then that's the take. It was done very quickly and I think that accounts for the rawness. I don't like slick production.

The influence of The Jam [ tickets ] can be seen in a lot of today's mod-punk music. Do you pick up on this at all?

It sounds a bit arrogant to say so. I can hear a bit in The Libertines' tunes. It's not for me to say, but I would hope so. As it was with the bands that influenced me, it's a question of passing it on. You would hope to pass it on.

Being a father and being a touring rock musician is a bit of a balancing act. Do you ever find it in conflict?

It's always a conflict. I miss my loved ones. It's different now, being 45 with four kids, than being 18 and fancy-free. Yet, it's what I do--what I've always, always done. If you're a musician, what do you do? Going away doesn't get any easier.

You've had the same rock band for sometime now, but some members (Steve Cradock and Damon Minchella) also belong to Ocean Colour Scene. Is this a good fit between your schedule and theirs?

It does work out. And Steve White does drum clinics and does his own records. Everyone can go and do their own thing. When we get back together, it's almost like a school reunion. At my age now, I don't know if I want to be in a day-to-day band. So it works out. The way I am doing this acoustic tour, for example, I couldn't do that otherwise. It's the best of both worlds.