Paul Weller’s favourite classic Motown track: “That’s my real love”

Posted On February 13, 2026February 13, 2026

A love for soul was emerging when the mod-revivalist Paul Weller formed The Style Council in 1983. Swinging beats were back on the menu in the wake of raw punk.

Calling it quits at the peak of former band The Jam’s commercial rise, the trio’s final two singles, ‘The Bitterest Pill (I Ever Had to Swallow)’ and ‘Beat Surrender’ both softened the sharp pub rock and biting social critique with a blue-eyed soul gloss that clearly pointed to Weller’s next creative direction. He was heading towards Muswell Hill, Motown.

But Weller’s jazz-pop venture didn’t quash the political fire in his belly. Vocal in his support for the miners’ strike action in 1984, The Style Council released that year’s ‘Shout to the Top!’ in solidarity, plus the NUM fundraising single ‘Soul Deep’ with Motown star Jimmy Ruffin, and formed the Labour pop-wing Red Wedge along with leftist troubadour Billy Brag, despite criticism from hardcore socialists The Housemartins and The Redskins.

Confessing to Mojo in 1995 his soul suedehead credentials in his youth, Weller revealed caring little for rock’s lauded deities when he was growing up. “You were in one or the other camp,” he began with an air of reverie when reflecting on those halcyon days where division was just a costume.

“If you were a skinhead or a suedehead you listened to soul or reggae, while all the people with greatcoats,” he continued, “army bags and long hair had a copy of Dark Side Of The Moon or Led Zeppelin. But I never liked any of it. Meanwhile, we were doing R&B or rock ’n’ roll covers, mainly from my mum and dad’s records, learning anything with three chords.”

Three icons typified this for him: “Chuck Berry, Little Richard, Coasters.” These are legends who were, ironically, the backbone of rock ‘n’ roll, inspired him deeply with their soul-stirring simplicity, and he never lost sight of that or tired of its pull.

Appearing on BBC Radio 2’s Tracks of My Years last year with Vernon Kaye, Weller dutifully collated a selection of songs that he held a deep affinity for. While some UK standards, such as The Beatles and The Kinks, make an appearance, the Motown number dusted off was a curiously lesser-known hit in the Detroit soul label’s celebrated discography.

Of all The Supremes‘ classic singles, Weller opted for the group’s latter cut ‘Stoned Love’. The only single for 1970’s New Ways But Love Stays, it proved to be their biggest hit with Diana Ross’ replacement Jean Terrell. They needed it, too. While Aretha Franklin and Sly and the Family Stone were scoring the political tension engulfing black America by the 1960s’ tumultuous end, The Supremes were lagging behind a fierce counterculture alienated by their apolitical pop.

Recruiting up-and-coming songwriter Kenny Thomas along with producer Frank Wilson, an effort to capture a passionate permanence amid the social upheaval inspired its ambiguous title. “We had civil rights issues going on in this country,” Thomas told journalist Adam White. “Vietnam, drugs, ‘make love, not war.’ But stones are forever – they don’t break or come apart. Love will be here forever. It’s not important about colour and things of that nature.”

The new direction left Motown founder and head honcho Berry Gordy cold. Reportedly calling the track “garbage”, he only agreed to its release after Motown’s executive VP promised its spin on the RKO chain of radio stations.

Among The Supremes’ envious bag of hits, the 1970 chart-topper is certainly an interesting pick. Daring to dig deeper into the Motown vault, Weller’s choice of ‘Stoned Love’ illustrates a love of soul that runs deep. As he put it, “I love soul music, that’s my real love in life and in whatever shape or form it is.” Well, it rarely takes a sweeter form than the glistening Supremes.