I, like many, have been looking forward to the return of Stereophonics after frontman and chief songwriter Kelly Jone explored a different creative avenue with Far from Saints. The burning question was, which direction would the band explore? Well, their new album, “Make Em Laugh, Make Em Cry, Make Em Wait” was recorded in the legendary halls of Stylus, RAK, and Metropolis studios in London, promising something original as they returned to recording together.
It was surprising that they returned with a record consisting of eight tracks, which is quite short for a long play, and therefore, it created a little apprehension. Would these eight tracks feature the explosive energy we have become accustomed to from the Welsh rockers? (I say Welsh Argentinians are also in the band.) To put it bluntly, the answer is a nuanced album.
While it has fleeting moments reminiscent of anthems such as ‘Bartender and the Thief’, the record takes a bold departure from Phonics’ previous styles. It leans more towards an introspective and subdued version, a shift that may intrigue and challenge listeners. It embraces the melancholic beauty of tracks like ‘Maybe Tomorrow’. This unexpected direction may not align with people’s initial expectations, but it certainly opens the door to a new, open-minded listening experience.
However, every cloud has a silver lining, which can be found in Kelly Jones’s songwriting prowess. The slower tempos and stripped-back arrangements allow his storytelling to shine. His trademark gravelly vocals, with a lifetime of experience, cut through the instrumentation, showing his more fragile side that commands your attention. Kelly is one of the great songwriters of our time, and through this album, you can appreciate his craft.
What “Make Em Laugh, Make Em Cry, Make Em Wait” lacks in raucous energy; it more than makes up for with its profound lyrical depth and emotional resonance. While some fans may have been hoping for the band’s explosive, more vintage tone and might be surprised by the subdued pace, those with a more open-minded approach will find solace in the album’s introspective sound. This record may not be filled with the stadium-rocking anthems we were all expecting, but it’s a testament to Kelly’s enduring talent and the band’s emotional journey. After a few listens, the record grows on you, offering a glimpse into the heart and mind of one of the top Welsh songwriters.
Song recommendations: ‘Colours of October’, ‘Backroom Boys’, ‘Mary is a Singer’
As you may recall, their last album was a unique creation, structured as a therapy session with a psychiatrist. This innovative approach was a testament to the band’s creativity. Now, with their fifth album, the band has truly taken off from their previous record. Robbie Williams, a notable figure in the music industry, has even become a fan and will have them support him on his summer tour. The band has also collaborated with some very familiar faces on this album, and we’ll delve into those in the track-by-track review.
Let’s get into it:
Superpower:
The shortest track starts with a public service announcement and maintains that vocal style in the verses. Co-vocalist/bassist Katie Lloyd then takes the lead, showcasing her vocals in the chorus. The track also highlights her bass expertise over Thom Rylance’s conscious lyrics, which delve into the importance of self-acceptance. The song also references the acronym behind “KOKO”, a phrase used by Liam Gallagher in ‘I’m Outta Time’ for the latest Oasis record “Dig Out Yer Soul”. The phrase, “Keep On Keeping On”, might have led some of you to wonder if it was a nod to a Camden venue.
You Again ft Jon McClure:
As you can see, the second track is a collaboration between the Reverend and the Makers frontman, Jon McClure, and, yes, he is related to Vicky. I know someone who is friends with her, and I had to ask the question. Anyway, ‘You Again’ was the teaser for the album. The track itself is about someone or something from the past that never seems to fade away, so we find ourselves thinking about it frequently. As with the opener, the sobering lyrics are concealed behind a groove instrumental.
Panic Attack:
If you have never experienced a panic attack, this track goes in-depth into what happens when it happens. Thom is known for spoken word and rapping during the songs, but this one is just him singing, showing he has more to showcase. In the final chorus, Thom is joined by children who provide backing vocals. ‘Panic Attack’ eases off that groovy/funky instrumental, which is quite apt when you consider the subject matter.
UFO:
I found the video pretty funny, with this young lad making friends with a child alien. Above all, there is a tremendous duet between Thom and Katie. This time, there is no groovy/funky instrumental, but a downtempo instrumental to match the lyricism.
Ragdoll:
I could not believe who I thought was accompanying Katie. I thought it sounded like the guy from Nickelback, and sure enough, it was indeed Nickelback frontman Chad Kroeger. I never expected that in the slightest. This is not just because the popularity of Nickelback has abated over here but also because it just appeared to be an unlikely collaboration. It is quite refreshing to see an artist from across the pond collaborating with an independent band. Chad’s role in the song includes a back-and-forth romantic duet with Katie. The instrumental has a Nickelback-esque feel, making the track powerful and raw.
Struggling:
The album title is referenced throughout, so you would be pardoned for mistaking it for the title track. I am also guilty of it. When I saw the name, I thought it was a mistake and that it was indeed the title track. One of the rawest songs on the record, addressing the struggles we face in life. It has the same vibe as ‘UFO’ but remains uptempo.
Turn Around:
Their latest single has a summer and festival feel to it. This will go down well at those open-air venues they will be playing on tour with Robbie in the summer. You would have also heard this one being played to death on air at the moment.
Monaco:
Again, this follows the same vibe as the previous track. It’s apt to be titled ‘Monaco’ because you associate that principality with sunshine and glamour. Even though both tracks have hard-hitting lyrics, the disco element makes for an uplifting mood.
Three Wishes:
From the uplifting of the previous two tracks to the melancholic duet between Thom and Katie discussing Thom being rueful about someone no longer a part of his universe and how he wished he had three wishes to have them return. It appears out of place from the rest of the record, but as Spider-man says, “Everybody gets one”.
Dirt and Gold ft Frank Turner:
Another collaboration, this time with the outspoken Frank Turner, flirts with folk music, with stringed instruments over football terrace chanting backing vocals. As usual, the feel-good instrumental is laced with the order of the day: melancholic, conscious lyricism.
The Ceiling:
The final collaboration is with a band that scored two number-one albums in the past 14 months. (You can also include this one. Rick Witter certainly does.)Shed Seven. The track itself is a blend of The Lottery Winners and Shed Seven. We have thumping drums, a brass section, an infectious guitar solo for Shed Seven, and Thom’s spoken-word vocals for The Lottery Winners. The track has a typical Shed Seven swagger—one of the album’s highlights.
KOKO:
The closer is appropriately the title track. The acoustic guitar is utilised over the message conveyed throughout the listening experience.
Overall:
This exceptional record merits a summary as the band, once again, fearlessly tackles issues of mental health that many of their peers shy away from. The album is a perfect blend of melancholic, introspective lyrics and uplifting instrumentation, making it a universally appealing piece, much like their previous record. The collaborations, including the unexpected one with Chad Kroeger of Nickelback, were surprisingly successful. While I personally favour the one with Shed Seven, the one with Jon McClure is equally impressive. The band’s ability to cater to a diverse audience is evident in this album, and I am excited to see them continue to push their boundaries and become one of the Indie greats.
Song recommendations:‘The Ceiling’, ‘You Again’, ’Monaco’
It was great to finally see Coldplay live and experience all I have witnessed watching their performances on television/listening to them. I went to Radio 1’s Big Weekend in spring with one of my best friends, and the experience is even better when you are there. Of course, there were still people watching it through their phones, which beggars belief. I prefer to be in the moment, and sharing the moment with Coldplay is one of those times you are glad to be alive. The love and harmony are just immense. It was excellent to experience it before they split up. I was looking forward to hearing “Moon Music” after hearing some of the tracks teased during Glastonbury headliner. Everyone else was also looking forward to it, as the pre-sale for the album sold out at least five months before it was released. Unfortunately, it all was an anti-climax.
The album’s message of love and harmony is evident in its ten tracks, but it seems the artists were too focused on their zen during the sessions. The lyrical content is kept to a minimum, as seen in the opening track, where Chris’s vocals only appear in the final minute. Before that, the track is a soothing instrumental , best described as ambient music.
Of course, one of the tracks featured during the Glastonbury headliner ‘feelslikeimfallinginlove’ is one of the best ones. Chris’s vocals are more pronounced and the kind of song that got Coldplay scores of hits. Lyrically, though, is it found wanting again. The bridge section is excellent, where it is call-and-response, which the band could get the audience to sing back to them, and of course, there is the “la’s” hook, which will work live. I wish I could say I enjoyed ‘We Pray’, and to be honest, it features the brilliant Little Simz, but then it also has Burna Boy as one of the featured artists, and he ruins everything he touches, so as soon as he came on it, I skipped it.
‘GOOD FEELiNGS’ is a funky track, but as the common theme, the lyrics are not great. What about ‘iAAM’? What is that about, lyrically? Chris sings about standing on a sea of pain, but at the end of the lyric, he says that he will be back on his feet again. I mean, that isn’t very smart, to say the least. I suppose Noel did write “Slowly walking down the hall/faster than a cannonball” for ‘ Champagne Supernova’ back in 1995, so it might be just a case of Chris using rhyme.
Don’t get me started on ‘JUPiTER’. The subject matter is to make people aware of what it is like to be a lesbian and face homophobia from another person’s perspective, which isn’t a bad thing, but the lyrics are basic.
In a nutshell, I was highly disappointed with the final album. However, the message of peace, love, and harmony is present, but it’s not the triumphant conclusion we were expecting. The tracks are drenched in ambience, overshadowing the vocals . And when the vocals do appear, the lyrics don’t quite live up to their potential.
I already told you (I think) in my review earlier in the year that I like Shed Seven, and they have been underappreciated by the mainstream. The media especially had harsh words for them during the Britpop movement, but it is nice to see the York lads have remained defiant and carried on regardless.
Take a moment to appreciate their loyal fanbase, who have been part of their journey for over 30 years . Despite the criticism from mainstream music journalists, the band remains popular , largely due to their strong connection with their fans. Their music, especially the 90s singles, have become anthems that still sound fresh today. “Liquid Gold” is a testament to this bond, not just a lazy greatest hits album . It’s been reworked and includes an orchestra, giving it a fresh and bombastic sound. Was it a risk? Yes. Was it worth it? This record is amazing. That’s your answer.
I haven’t looked into the vinyl edition yet, but that version is even better than the other versions. I just went to the band’s official YouTube channel and listened to it. I’m glad they chose to reimagine their greatest hits because we already had “Going for Gold” released in 1999.
The opener is ‘Getting Better,’ featuring strings and bass. Although the track has been altered, it still maintains the uplifting tempo of the original with a bigger chorus. I’ll be honest with you: You are in for one hell of a listen.
I am going to single out ‘Devil in Your Shoes’ and ‘On Standby’ next for continuing in the same vein as ‘Gettin’ Better’, but this time, violins are a highlight on the chorus. It is worth noting that both songs retain their originality.
One of the album’s most striking features is its uplifting nature, enhanced by the orchestral elements. The orchestral version of ‘Disco Down’ is a perfect example. Surprisingly, it surpasses the original, which was already brilliant, in terms of its musicality and emotional impact.
I could wax lyrical about this record all day and all night. It is truly magnificent. The listen flies by; you are definitely having fun.
Some might say the band are showboating on this album and basking in their success earlier in the year, but who cares? They have been underappreciated for decades. They deserve to swagger. The band sounding tighter than ever, and Rick Witter’s vocals have remained ageless. Honestly, I couldn’t tell his vocals apart from then and now.
We can only dream the reworking ‘Going for Gold’ to become the next James Bond theme because it will be the perfect fit.
Issy Ferris performs vocals on the new version of ‘Waiting for the Catch’. Yes, some recent songs get a makeover. The latest version with Issy will be one of their best in future years.
There is room for a new song called ‘All Roads Lead to You’, quintessential Shed Seven.
Okay, reworking songs with an orchestra or otherwise isn’t original, but the Sheds haven’t made it cliched. The band worked with the orchestra to build up the chemistry and create lightning in a bottle while still keeping the band’s identity.
The album wraps up with the enchanting ‘Chasing Rainbows’ , another sublime reworking. I do wish ‘She Left Me on Friday’ was included, as it’s a personal favourite. I urge you to listen to the album from the beginning, as it’s a true delight with no disappointing reworkings. This record is a gem, consistently uplifting and enjoyable. I’ve included some song recommendations, but trust me, it was a tough call. Kudos to the Sheds for this fantastic record.
Song recommendations:‘Going for Gold’, ‘Waiting for the Catch’. ‘All Roads Lead to You’
I loved the album’s name after a stolen 8-foot-tall fibreglass gorilla from a Garden Centre in Lanarkshire, Scotland, last year. The song isn’t bad, either. I also love the way they shape themselves to spell out his name. Now, you associate the band with shoegaze and all that, but although this does feature synths, there is a lot of disco funk in this one. In fact, the record is split into disco funk, the kind of music you would associate with Jungle, and the other half is quintessential Blossoms. I like it a lot, and the tracks have a lot of playfulness.
The sound of the disco funk half of the album is retro yet modern. The opener, ‘Big Star,’ beautifully explores the theme of longing for a relationship and the anxiety of making a good first impression. I believe the current Everton manager Seán Dyche also appears on ‘What Can I Say After I’m Sorry?’. Well, he does on the video, anyway.
The title track is fun and groovy, with the band pleading with you to look out for the stolen fibreglass gorilla. I also enjoyed ‘Mothers’ and ‘Nightclub’. To be honest, I didn’t find any of the tracks shit. It’s different from what I have heard before, especially in the first half. I never saw them venture into Jungle’s turf, but I’m certain that the London outfit won’t begrudge them doing so. The second half plays it safe and sticks with their usual sound. That’s the only downfall for me.
Song recommendations: ‘Gary’, ‘Mothers’, ‘Nightclub’
Snow Patrol. Are they Irish? Or Scottish? After all, they were founded in Dundee in 1994 by Irishmen. I am unsure how I got into the band, but the first song I heard was ‘Spitting Games’ which was released in 2003. The band already had six singles by then and two albums that absolutely flopped before releasing their breakthrough, “Final Straw”, in the same year. Of course, they are best known for ‘Chasing Cars’, ‘Run’, and ‘Set the Fire to the Third Bar’, the latter featuring Martha Wainwright. They have also supported Oasis and are usually on the main stage at various festivals. There have been two changes in the band: their drummer, Johnny Quinn, and bassist, Paul Wilson, both departing.
Now, onto the album, ‘Years that Fall’ takes inspiration from fellow Irishmen U2. However, I found it quite a challenging record to listen to. I associate the band with indie rock, but instead there a plethora of piano ballads. Quite downtempo for a band that’s usually in-your-face. Don’t get me wrong some of their piano and downtempo songs are classics, but this album is a very hard listen. While the record’s second half shows some promise, the album as a whole seems to lack the ‘spark’ that usually characterises the band’s music. I cannot see many of these songs being used on the tour. I know Gary Lightbody has faced adversity recently, which is evident in the tempo of the tracks, but the songs that make it on the setlist will be used during the quieter moments.
I also like ‘These Lies’ and ‘What if Nothing Breaks?’ I believe the latter is your typical Snow Patrol track. I cannot remember, as most of the record is just downtempo. The album is an hour long, and that’s quite long for modern records. However, the pacing and lack of variety in the songs make the listening experience feel even longer. Sorry, guys. It’s far from your best work.
Song recommendations: ‘Years that Fall’, ‘What if Nothing Breaks?’, ‘These Lies’
The band formed in 1991 and was originally called The Rain after a Beatles b-side from their ‘Paperback Writer’ single. The band was founded in Manchester by Paul ‘Bonehead’ Arthurs (rhythm guitar), Paul ‘Guigsy’ McGuigan (bass), Tony McCarroll (drums and percussion) and Chris Hutton (lead vocalist). Chris didn’t last long and was replaced by Bonehead’s friend Liam Gallagher, who was far from impressed with the band’s name. He said they should change it to Oasis after an Inspiral Carpets poster he had in his room that was a promotional poster for their gig at Oasis Leisure Cente, Swindon. Liam’s middle brother Noel was also the roadie for Inspiral Carpets at the time. That was shortly to change. Noel was in attendance at the band’s debut gig on August 14, 1991, at Manchester’s Boardwalk, where they were at the bottom of the bill, including the Catchmen and Sweet Jesus. The band played songs written by Liam and Bonehead called ‘Take Me’, ‘Alice’ and ‘Reminisce’. Noel felt there was something in the band, even though Liam sounded like The Stone Roses frontman Ian Brown, down to Ian’s famous onstage swagger. Noel then approached the band to give his thoughts. Younger brother Liam asked him if he would like to be their manager.
Noel refused but said he would like to join the band on the condition that he would be the only songwriter and become the leader, and they were dedicated to the band, which would lead to being signed and more. The band agreed to his terms, and Noel went to work first of all by removing the songs written by Liam and Bonehead, only opting to keep ‘Take Me’. He also changed how Bonehead, Guigsy, and Tony played. He got Bonehead to play barre chords, Guigsy to play root bass notes, and Tony to play basic rhythms with the band’s amplifiers turned up to maximum to create distortion. Noel would also take up duties as lead guitarist/backing vocalist. The distorted sound gave them a raw sound that wasn’t being done at the time and gradually got them noticed, especially at King Tut’s Wah Wah Hut, Glasgow, where Alan McGee, the head of Creation, heard them after missing a train to London and went along to see one of his acts. Although ten people were inside the venue, he liked what he heard and approached Noel to see if they were signed. When Noel said “No”, he asked if he wanted a record deal. Noel casually answered, “Yeah. Alright.”
From there, as you will probably be aware, their rise went fucking stratospheric. Their first two albums, “Definitely Maybe” and ” (What’s the Story?) Morning Glory”, would reach the summit and still remain classics. They then played iconic shows like Earls Court 1995, Maine Road 1996 and Knebworth Park. They were always attracting the media’s attention with anything from controversial comments to the Gallagher brothers constant fights and arguments. The band also almost split up several times over issues ranging from poor gig performances to abandoning tours to go house hunting. Band members came and went during their prime and their transitional years. Tony McCarroll was the first to go in 1995, followed by Guigsy briefly in 1995, before returning after Scott McLeod left during the American leg of “(What’s the Story?) Morning Glory? Tour. Guigsy and Bonehead would both depart in 1999. Alan White in 2002, with his brother Steve briefly taking over, Zak Starkey in 2008, and Mike Rowe would leave as the touring keyboardist to be replaced by Kula Shaker’s Jay Darlington. The final lineup would feature Colin ‘Gem’ Archer and Ride’s Andy Bell, who joined in 1999, with Chris Sharrock becoming the drummer in 2008. I don’t really need to go in-depth into what happened at Rock en Seine, Paris, on August 29th 2009. My reviews of Liam Gallagher and Noel Gallagher’s High Flying Birds have more than covered that. The band announced, though, that they were reforming on August 27th this year, with several dates announced for the UK and Ireland leg of their “Live 25” tour, which sold out in minutes.
Further dates are set to be announced for a global tour. The brothers have also done a photo shoot with Simon Emmett this year and reconciled with each other, despite being rumoured to be kept at arm’s length when the tour starts next July. Now that’s done, let’s begin introducing “Definitely Maybe”.
“Definitely Maybe” was released 30 years ago, on August 30th 1994, and the debut album went straight in at No.1. The leading single ‘Supersonic’ released in April , while not breaking the top 20, set the stage for what was to come. Two further singles, including the rather corny ’Shakermaker’ released in June, added to the anticipation. However, it was the release of ‘Live Forever’ three weeks before “Definitely Maybe” that truly made an impact. This now timeless classic, with its optimistic lyrics and melody, was enough to convince people to buy the album. Not forgetting their electrifying promotional tour performances and the controversy surrounding the band, most notably the Gallagher brothers.
“Definitely Maybe” was different from what was on the album chart. It was raw, loud, choc full of lyrics about optimism, and had a punk spirit. Many have labelled the record indie, but I feel it is more punk than anything. The album has no heirs and graces; It is unapologetically loud and in-your-face. A stark contrast to the clean sing-a-longs Blur used for “Parklife”. However, “Definitely Maybe” almost didn’t happen. They booked in Monnow Valley, Wales, in 1993, a time when the music scene was dominated by grunge. Oasis were about to record something completely against the grain. But for some reason, they couldn’t find the energy needed to match Noel’s expectations. They binned off recording there. Noel was utterly unsatisfied. The producer, Dave Batchelor, was a casualty because of this. They then tried again at Sawmills, Cornwall, in January 1994. Recording as if they were performing a gig, with Mark Coyle and Noel producing. Noel was again disillusioned and contacted Alan McGee, saying the album wouldn’t happen. Alan had other ideas, and as he invested a lot of time and money into Oasis, you could see why he took action. Alan hastily contacted engineer and producer Owen Morris. He would get straight to by re-recording some of Liam’s vocals, making Tony’s drum sound more punchy, and removing Noel’s excessive guitar layers.
Owen’s changes would bear fruit, and the guitars and drums were aligned with what Noel wanted. However, apart from Owen saving the day by mixing it at Johnny Marr’s Manchester studio, no one can deny it was the great songwriting of Noel Gallagher that was the real magic behind the songs. He had and does have this knack for writing songs with basic chords, catchy choruses, and meaningful lyrics that are not necessarily poetic but incredibly effective. His lyrics have a way of resonating with the listener, and his melodies draw your attention. You have to see ‘Rock n Roll Star’, ‘Live Forever’, and ’Supersonic’ from the album as evidence.
The band was inspired by The Beatles, The Jam, The Sex Pistols, and cheekily lifted the ‘Bang a Gong (Get it on)’ riff by T. Rex for ‘Cigarettes & Alcohol’ while recording. I have heard many slurs that the band is an inferior version of The Beatles, but I do not share this view and see many of Noel’s influences in the music. “Definitely Maybe”, for me, is more Sex Pistols leaning. I have had many debates about that, but for me, it just is; it embodies the whole punk sound. Now on its 30th anniversary, the record has been released in spatial audio with Dolby Atmos, and if you thought the record sounded great in 1994 or when it was remastered, then this will fucking blow you away. It is beyond amazing. The 30th-anniversary edition also contains:
The original Monnow Valley recordings.
Outtakes from Sawmills.
A Liam on vocals demo of ’Sad Song’.
Now, let’s get on with what you really want. The track-by-track review:
Rock n Roll Star:
Right from the start, it’s a burst of energy. The lyrics echo our deepest desires, and the music whisks us away from the daily grind, offering a comforting respite from life’s challenges. It’s always been a personal favourite, whether I’m listening to the record or experiencing it live.
Shakermaker:
I’m not a particular fan of this one. It is corny, yet at the same time, has a certain charm to it. It is also lifted from the 1971 Coca-Cola jingle I’d Like to Teach the World to Sing (In Perfect Harmony). Here is a little fact: Nowaysis covered both versions. The song is also inspired by elements taken from Noel’s listening preferences- you have “Plasticine” from The Beatles, “Mr Clean” from The Jam and “Mr. Soft” from Cockney Rebel. He also references his local Mancunian record shop, Mr.Sifter. When the band perform this live, they occasionally include an extra verse with the Coca-Cola jingle. Noel was cheeky in how many references he used in this song and was fortunate not to be sued by more than just Coca-Cola Schweppes.
Live Forever:
I absolutely adore this song. It is without hesitation my favourite Oasis song. The lyrics are about wanting to live forever to counter the dark lyrics of the late Kurt Cobain during that period. And who doesn’t want to live forever? In the case of Oasis, they will. They are immortalised with songs like this. This track was the catalyst that led me to pick up the guitar and start writing. While everyone wanted to be Liam, I wanted to be Noel. That guitar solo still sends a shiver down my spine. It may not be the most intricate, but it sold learning to play for me. I feel sorry for Tony, though. In the obligatory video, he is buried before rising again after the guitar rings out. Was this subtle to say he was going to be sacked?
Up in the Sky:
Liam’s vocals are superb, matching the tempo of Noel’s riff. Hearing this live is exactly the same as the studio version. Although, Liam might change the lyrics occasionally.
Columbia:
The track started as an instrumental jam before the lyrics were finally added. The surreal lyrics and sound effects match the psychedelic feel. It’s another personal favourite of mine.
Supersonic:
Noel claims to have written this in ten minutes during the sessions, and a dog called Elsa was present, which led to one of the lyrics. Although I enjoy this from the opening drums, I prefer the live version. Noel goes on a mad one and does an extended outro with a blistering guitar solo. Experiencing this one live is something special. I am still dumbfounded how it didn’t break the top 20 upon its release. It’s a timeless piece of music that we can all appreciate.
Bring it on Down:
This one is definitely punk. You can hear The Sex Pistols. It reminds me a bit of their b-side (Also features on “The Masterplan”) ‘Headshrinker’ without the riff from ’Saturday Night’s Alright (For Fighting)’ being partially lifted. It is just raw, from the guitars down to Liam’s snarling vocals. At one point, I believe he is singing into a megaphone. It certainly is that effect, at least. Tony originally wasn’t grasping this tempo, so Noel hired a session drummer, who also struggled. Then, for some reason, it all clicked for Tony. Originally, this was going to be their debut single. And let me tell you, it’s another barnstormer when performed live, full of energy and excitement.
Cigarettes & Alcohol:
Of course, the riff is lifted from T. Rex’s ‘Bang a Gong (Get it on)’ as mentioned in the introduction section. The song embodies wanting to forget about life and have it while drinking and smoking. It is just uplifting all round. Underneath all the bombastic is quite a political message, but it also says fuck it. Just live it up, drink, smoke and do cocaine. For me, the song doesn’t come alive until the outro. Liam singing that last verse with attitude and a snarl. I also like the guitar solo in the outro.
Digsy’s Dinner:
This is an ode to Noel’s friend Peter ‘Digsy’ Deary from The Sums. Although Digsy is not mentioned in the song, one of Digsy’s anecdotes about lasagna is. It is a short, cheerful, piano-based cheesy sing-a-long. The way Liam elongates “lasagna” is very clever in keeping with the guitar melody but also quite funny. The live performance of this song is where the real excitement lies. It is much better live.
Slide Away:
An ode written to his then-girlfriend. Unfortunately, she left him not long after because she believed he was going nowhere. Ha. The jokes on her. I would describe it as a melancholic love song. Noel recorded this on a Les Paul loaned by Johnny Marr. I love Liam’s sustained vocals on the chorus. The song is great, but you know the genuine emotion behind it when it’s stripped back.
Married with Children:
Noel was writing and a the television show sharing the same name as the title happened to be on. The song itself centres on pettiness when sharing a home with a lover. I have had debates over Liam’s current vocals, and how they have declined, and when they ask “why?”, I point them in the direction of this stripped back track. His vocals are angelic and on point. Many have said Liam is a monotone vocalist, but I refute that when you hear this. Liam at his very best.
Overall:
How do I write this? I’ve already lauded the album countless times within the review. You can understand why it is considered the favourite Oasis record for many, including myself. Noel has mentioned he loves it and has been playing it constantly on its 30th anniversary. “Definitely Maybe” is about escaping the usual shit we face and longing for a better life with sprinkles of optimism. An exquisite sound hides the melancholic lyrics (sometimes cheerful). The record also signified what was to come for Oasis. All of these songs are brilliant live. It was strange, yet pleasing to hear ‘Married with Children’ electric. I may not have touched much on where the punk is on the album. It’s all over. From the defiant lyrics and punk rock instrumentation to Liam’s snarling. I don’t know what to say if you cannot hear that in songs like ‘Rock n Roll Star’. There is a reason this record has stood the test of time. I don’t think I will ever tire of listening to it. It’s apt that a record that inspired hope 30 years ago has returned to the summit as we are now back in the same political situation. We need something to raise our spirits and return to feeling hopeful.
Song recommendations: ‘Live Forever’, ‘Rock n Roll Star’, ‘Married with Children’
The band nearly had their secret show at Glastonbury this year exposed by a social media post. Frontman and guitarist Serge Pizzorno was alerted by a plumber about the post after he was asked about the show. The band has been touring with their new frontman Serge, playing songs from their debut album( Under Serge, anyway.)as well as their classic hits since 2022. Last year, they released the lead single “Algorithms” from their upcoming album, so fans have been eagerly anticipating new developments.
Unlike some, I’ve found the band’s transition after Tom Meighan’s departure to be seamless. While Serge’s new material may be more influenced by hip-hop and rap, his stage presence is truly captivating. As the previous album review highlighted, Serge is a natural frontman, exuding energy and connecting with the crowd. This, in my view, has significantly enhanced the quality of the shows. I also admired the band’s willingness to explore new musical territories with the previous record, particularly Serge’s take on hip-hop and grime.
We start with ‘Darkest Lullaby’, and it’s a start that’s bound to catch your attention. A captivating groove, rich with funk, instantly transports you back to the disco-funk era of the 1970s. But here’s the twist- this isn’t the hip-hop-infused track we might have expected under Serge’s leadership. It’s a refreshing departure that’s sure to intrigue you.
This is followed by the second single off the record, ‘Call’, which has been out since February, so the fans will be familiar with it. I cannot wait to hear how this one does in a live show because there is a chant there, which Serge will encourage the crowd to join in with. It also makes you want to get up and dance. A short, punchy track, ‘How Far Will You Go,’ follows; it is just under two minutes and is the ideal track for you to upload on TikTok and join the fun. The tempo is then brought down for the serene ‘Coming Back to Me Good.’
The album maintains a mellower pace with ‘G.O.A.T’. This track, inspired by Serge’s solo material, SLP, is a potential game-changer for Kasabian’s sound. Whether it is embraced or not, this influence is likely to be felt. The track also carries a darker vibe towards the end.
The track “Passengers” by Kasabian has a vintage feel. It includes a strong rhythm section with Ian Matthews on drums and Chris Edwards on bass. Additionally, it features great guitar work by Tim Carter and Serge’s trademark harmonies.
We then move on to “Hell of it”. All there is to say is that it’s vintage Kasabian, featuring the audience participation chorus.
The penultimate track ‘Bird in a Cage’ is simliar to ‘G.O.A.T’- Mellow yet dark.
The album closes with the leading single, as mentioned in the first paragraph. It is simply an uplifting track. It complements the whole record in a nutshell. My only complaint is that I feel Serge has been bullied into abandoning the new Kasabian we heard on “The Alchemist’s Euphoria”. This one seems to have taken a backward step and is more vintage Kasabian, reminiscent of their earlier, more rock-oriented sound. That isn’t bad, but I’d rather Serge steer the band with his vision rather than what the purists want. I also found it underwhelmingly short, with the album lasting just 28 minutes. Most of these songs could easily fit into an extended play.
Song recommendations: ‘Call’, ‘G.O.A.T’, ‘Passengers’
James is a band that has been around since 1982 and has a large following. Their latest album has finally given them their first No.1, which is impressive considering they have had nine albums in the top ten. The album is a mix of their signature sound and experimental and eclectic tracks. The collaborations on this album are impressive, and the mixing by Cenzo Townsend is top-notch.
The album opens with ‘Is This Love’, which perfectly blends their quintessential sound with synths and Andy Diagram’s trumpet. ‘Life’s a Fucking Miracle’ is a deep house track that explores the ups and downs of life and then bursts into a grand instrumentation. ‘Better with You’ mixes disco with synths and continues the story of ‘Life’s a Fucking Miracle’ where the main character finds “the one”. ‘Stay’ is a powerful track that addresses mental health issues and encourages listeners to keep fighting against the condition.
Chloe Alper, who joined the band in 2018, shines as a backing vocalist on the album, especially on ‘Shadow of a Giant’ and ‘Way Over Your Head’. ‘Way Over Your Head’ features Jon Hopkins on piano and Saul Davies on the violin and is a beautiful ballad about alcoholism. The album’s tracks ‘Mobile God’ and ‘Our World’ showcase the band’s unity and optimism. ‘Mobile God’ explores the issue of smartphones from the phone’s perspective, and ‘Our World’ looks to a better future.
‘Rogue’ is a catchy song about rebelling against ageism, and ‘Hey’ is an experimental track that features gospel music and addresses conspiracy theories vs the media. The album closes with ‘Folks’, a powerful ballad about death. The album proves that James has improved since their reunion in 2007 and dared to go against the grain of what the music industry expects from them. The album is a must-listen for fans of James and anyone who loves great music.
Song recommendations: ‘Life’s a Fucking Miracle’, ‘Mobile God’, ‘Hey’
In August 1997, a young teenager named Pete Doherty was interviewed on television outside His Master’s Voice, Oxford Street. He shared his thoughts on Oasis’s eagerly awaited third album, “Be Here Now,” and his opinion of the band. Pete later co-founded The Libertines (Originally The Strand) with his flatmate Carl Barât, although their names and band name were unknown. The band had a history of members leaving and returning before eventually signing with the infamous Rough Trade in 2001. Razorlight’s Johnny Borrell briefly served as a bassist for the band. The drummer, Paul Dufour, was sacked by their female manager, Banny Pootschi, for being ‘too old.’ An American-born Brit named Gary Powell was recruited to play on their debut album, “Up the Bracket,” released a year later.
The band was known for performing guerilla gigs, inviting fans to their flat to watch them perform, often causing trouble with the police. During this period, they experimented with various drugs, including cocaine, crack, heroin, and cannabis. Pete and Carl’s friendship was also unstable, swinging from best mates to enemies, reflected in their 2004 self-titled album, especially in their monumental anthem, ‘Can’t Stand Me Now,’ and ‘Don’t Look Back into the Sun.’ Unfortunately, the band split the same year due to infighting between Pete and Carl.
Pete later formed Babyshambles a year before The Libertines split, while Carl formed Dirty Pretty Things a year later. In March 2010, the band announced that they would reform and headline the Reading + Leeds festival in August, surprising fans as Pete and Carl had not spoken since the band split. The short reunion was a success, with thousands of fans flocking to the stage and several others watching on the BBC. The gigs are the main search results on YouTube for their live performances.
Carl stated in an interview two years later that he could see the band reforming again. Another two years passed when a cryptic picture of Hyde Park appeared on their Facebook page on April 20. The Barclaycard British Summer Time Festival then made an offer to Pete and Carl to perform on July 5 and close out Saturday. They accepted the offer, and a further surprise was in store when they announced they would perform three nights at Alexandra Palace in late September. I had the fortune of attending the final night with my friend Keano. Circa Waves supported them, and it was fantastic. We were absolutely fucked, but then so were Pete and Carl. I do not remember much of the gig, but we enjoyed ourselves. I have to watch videos of that night to remember just how good the performance was, and it is the band at their best. They were back, and you could feel the chemistry.
After those four successful gigs, Pete attended Hope Rehab Centre in Thailand. Once he completed his rehab, the band joined him in January 2015 to start writing the next album. The album was released later in the year and called “Anthems for Doomed Youth.” It topped the charts at No.3. The band has been together since, with Pete having a solo project from 2016 and Carl returning during hibernations to Dirty Pretty Things.
Now, regarding their newest album, it is unbelievable that it has been nine years since the band’s last release. They have been on the road regularly since their second reformation a decade ago. Their name, song titles, and albums all reference books. The new album, “All Quiet on the Eastern Esplanade,” is no different and has no interludes.
The album opener is ‘Run Run Run,’ which discusses escaping the past over quintessential indie from the early 2000s, most notably The Strokes. ‘Mustang’ has the bass and drum sound that the band was known for in the early 2000s.
Pete takes over from Carl on ‘Have a Friend,’ which has the same structure as a typical Libertines track but lacks the punch instrumentally. ‘Man with the Melody’ is one of the slower tracks on the album, and Pete and Carl talk about facing their demons on this piano ballad complete with strings.
‘Night of the Hunter’ adds the band’s love of books to the mix, something the band is known for with tracks like ‘What Katie Did.’ They have a knack for turning books they have read into their original songs with nods to the book. The record teaser ‘Shiver’ departs from their indie/rock roots. It is more theatric and sounds quite evil before it fades out.
‘Be Young’ is my favourite from the album, and there are no prizes for guessing why. This is the band with their wall of sound, the sounds we have known since “Up the Bracket.”
The closer is ‘Songs They Never Play on the Radio’. This song sounds similar to ‘Music When the Lights Out’. When the pair trade off vocals, the delivery mimics that song, and so does the instrumentation. It is a good way to end the album, as the tempo is brought down.
In my opinion, “All Quiet on the Eastern Esplanade” represents the band clean and sober. There is a more mature sound and less chaos than what you had on “Up the Bracket” and the self-titled record. “Anthems for Doomed Youth” was a bit calmer, but this one certainly has the lads discussing hard-hitting issues with less kick in the music. Hopefully, we will not have to wait another nine years for the next album.
I look forward to hearing how these new songs with a more mature approach go down on the tour, which is almost sold out.
Song recommendations: ‘Be Young’, ‘Song They Never Play on the Radio’, ‘Run Run Run’
Honest Opinions 