A mixture of brief and long track-by-track reviews:
Jenny Was a Friend of Mine:
Powerful bassline depicting the fictional story of a girl called Jenny who was murdered. Morrissey(who Brandon is a fan of)inspired him to write the song, which is part of the murder trilogy featured from the “Hot Fuss” period. Frontman Brandon Flowers also said that Alice Deejay’s 1999 smash ‘Better Off Alone’ inspired the sound.
Mr Brightside:
THE iconic anthem that has stood the test of time for the band. It doesn’t matter where you are; everyone will know the words( to the chorus, at least.) and sing them at the top of their lungs with their arms aloft or their fist punching the air. Brandon said this track came to life after he suspected his then-girlfriend was cheating on him. Brandon woke up and went down to the Crown and Anchor public house in Las Vegas and saw his girlfriend cheating. The backing track had already been done before Brandon added his heart-wrenching vocals, followed by the drum machine featured on the demo. The anthem was initially met with disdain during its initial live performances and gathered momentum after the release of ‘Somebody Told Me’.
All These Things That I’ve Done:
Brandon admitted to imitating the late Lou Reed’s vocal delivery for this track. The song features the Gospel group Sweet Inspirations. The bassline was lifted from the late David Bowie’s ‘Slow Burn’.
Somebody Told Me:
Their second single, which had an Oasis-esque vibe, is about trying to pull someone in a nightclub. Brandon cleverly added both sexes in the chorus so both could relate to the meaning behind the song. Pulsating drums and spacey synthesisers over raucous guitars will have you headbanging, dancing uncontrollably or stamping your foot.
When You Were Young:
The synthesisers are warmer than what was heard on “Hot Fuss” over lyrics referencing hurricanes, heartache, and Jesus, specifically in the chorus). The synthesiser takes centre stage with its riff featured on the chorus. There is an element of folk in this 80s synth-pop song.
Read My Mind:
Brandon has said this is the best song he has ever written and declared it his favourite for the band. Again, it is an 80s-inspired synth song with amazing vocals in the verses and a riff that still sticks into your head almost two decades later. Brandon said this originally started as ‘Little Angela.’
Human:
I never understood the lyrics ‘Are We Human? Or are we Dancer?’ However, it is an infectious hook, and maybe due to its melody, it makes the outlandish lyrics redundant. Furthermore, many people have questioned what the lyrics mean because, as you can see, they do not make sense. The track featured a synthesiser, snappy guitar riff, and hi-hat riff, with a second synthesiser coming in the second verse: catchy synthesiser, and full drums in the first chorus. The second chorus features high synth strings, which lead into the middle eight and are accompanied by drums, bass, and vocals. The third chorus is a breakdown featuring the sounds heard so far, with a fade out on the final chorus.
Spaceman:
It is a song about meeting an alien, which gradually affects the main character’s sanity over multiple synthesisers with driven guitars coming in on the chorus. The standout has to be the drumming by Ronnie Vanucci. On a side note: When Noel Gallagher met the band, he ignored the other members and approached Ronnie. At the time, the then Oasis leader was looking for Zak Starkey’s successor.
A Dustland Fairytale:
It’s a song that sounds like it could be in a school assembly. There is an updated version featuring Bruce Springsteen, which was recorded in 2020. The acquisition of the Boss makes the re-recording better than the original version.
Be Still:
An unimpressive ballad.
Runaways:
This track is Bruce Springsteen-esque.
the Man:
I am not a fan of it, to be honest. It has that 1980s feel to it (I tend to cringe at most of the music from the 80s when I hear them played.). Don’t get me wrong, I like some 80s disco, but this had far too much to my liking, and I certainly wouldn’t put it in the Nile Rodgers category (I would have liked it, then.).
Caution:
Sounds like four bands rolled into one song. The intro is very Tame Impala, the verses are the War on Drugs and Slowdive, and the chorus is the Killers. Once again, the lyrical content and the story draw you in. There’s even an appearance by Lindsey Buckingham on the lead guitar. The story is about rolling the dice and throwing caution to the wind regardless of the consequences because you don’t want to regret missed opportunities.
My Own Soul’s Warning:
It is a slow-building track that bursts into a traditional Killers wall of sound. You can never forget the sound for that reason alone. The fable is quite religious, and what happens when you start questioning its validity?
Dying Breed:
Brandon goes for it on this song, especially in the chorus, as his vocals grow in volume. It’s a typical Killers track with all the synthesisers, et cetera. One to get the seating section up on their feet for a dance at the gigs.
Pressure Machine:
This is my third choice recommendation from the album with the same name. However, apart from the story being told, it lacked a hook and a chorus. It felt more like Spoken Word than the bombastic sound we know the band for.
Quiet Town:
A fable about two individuals killed in a 1994 car accident in Utah 1994 when a train hit them at a crossing. This song has some meaning to Brandon because he hails from the same town in Utah where the incident happened. He also saw one of the victims that day morning on the way to school. The song is broken down into verse one: the accident. Chorus one: How it shook the town, and what these Mormons are like. Verse two: 20 years after the accident, discussing the opioid stories. Chorus two: How the people live their lives and how their faith will pull them through. Verse three: Brandon outlines how he feels when he returns to his hometown. Chorus three: The local folk are good people and help those in need—verse four Talks about the train remembering taking those lives. Overall, the song is taken from the point of view of a train worker who witnessed the incident. The worker also says how the train kills someone every two or three years, maybe depicting that individuals intentionally commit suicide by being struck by the train. Why? Well, one of the lyrics is, “You…I, I think the train is a way to find your way out of this life if you get hit by it”.
Boy:
Chopping hi-hats, dazzling guitar riffs, and Brandon’s personal lyrics over their usual synth rock. The topic is Brandon addressing himself and his children about the past and the optimism of the future.
Your Side of Town:
Quintessentially the Killers.
Spirit:
The sole new track on the album, and closer samples Underworld’s iconic ‘Born Slippy’ over the band’s quintessential sound.
Song recommendations: ‘Mr Brightside’, ‘Somebody Told Me’, ‘Spirit’
I have decided to do a track-by-track review because it is the legends that are Blur. However, before I get to the review, I will introduce the band, as this is my debut review of them. They were formed in 1988 and initially named Circus before changing to Seymour. Damon Albarn was the sole member until bassist Alex James joined. Drummer Dave Rowntree followed in October before Damon recruited his childhood friend, who met when he moved to Colchester lead guitarist Graham Coxon. They then signed with Food Records in 1989. The label drew a host of names for the band as they were not keen on Seymour. They would decide on the name Blur.
They went on a UK tour in 1990 and released their debut single ‘She’s so High’, which reached 48th in the chart. For their following single, they worked with producer Stephen Street known for working with the Smiths and Morrissey, who the band were fans of. Stephen would produce the Stone Roses-esque ‘There’s No Other Way’, an instant hit with music fans and would peak at no.8 This would propel their status in the industry, but their third single ‘Bang’ was a total disaster peaking at no.24. Their label encouraged the band to keep the sound in line with the music coming out of Manchester at the time, dubbed Madchester. Their debut album, “Leisure”, came out in 1991 and charted at no.7.
Despite their mild success, they found themselves 60,000 pounds in debt and did a US tour in 1992 to clear their debt. They released their 4th single, ‘Popscene’, to promote the tour. It may only have charted at no.32, but the single would cement the Blur wall of sound we can still hear. The US tour was a bomb scare, with the members fighting and arguing.
When they returned, they worked on their second album, “Modern Life is Rubbish”, released in December, but then rejected by the label and wasn’t ready for release until May 1993. ‘For Tomorrow’ was 28th, and the record charted lower(15th)than their debut.
Their third album, “Parklife”, released the following year, got Blur the recognition they finally deserved. It helped that Oasis was being talked about and revived the Indie scene. For Blur, ‘Girls & Boys’ went in at no.5, their highest entry, but even better was “Parklife’, which became their maiden no.1 album. The band would win four awards at the 1995 Britannia Music Brit Awards.
The band would release “the Great Escape” the following year, which also went in at no.1, and they also went head-to-head with Oasis summer when they pitted their ‘Country House’ against the Mancunian’s ‘Roll with it’. Blur would beat Oasis to the no.1 single spot, and in the process, the media made up a bullshit ‘war” between the two bands, which saw fucking brainwashed idiots taking sides instead of appreciating both bands’ music.
Blur released their self-titled the following year, departing from the “Britpop” sound. Especially with the heavy rock song ‘Song 2’. Their first single, ‘Beetlebum’, a song that Noel Gallagher recently confessed that he thought was their best song and wished he had written.
Blur gave themselves a bit of a break and released “13” in 1999, which spawned the hits ‘Tender’, and ‘Coffee & TV’. “13” was yet another no.1 record. The next album would be in 2003 without their lead guitarist Graham Coxon and would be replaced by the Verve’s Simon Tong (Yes, his brother was the drummer for Bloc Party). “Think Tank” would also at chart no.1. There were several rumours in 2004-07 of the band working on extended plays, but these never happened, and without knowing it, the band disbanded.
They would reform in 2009 for a Hyde Park show, but it was Glastonbury, which would prove successful, and the fans hoped the band would stay together. They also headlined Oxegen and Tennents in the Park the same year. The band released their second greatest hits album after the successful reunion shows.
There would be several accolades and documentaries released before 2015 when the band announced they were back with their original lineup and released “the Magic Whip”, recorded in Hong Kong during a five-day visit in 2013. The band would hibernate after touring “the Magic Whip” until 2019 doing a special gig in London.
This brings us up to the present, where the band played EE Stadium, Wembley last month, and then played “the Ballad of Darren” in its entirety at AventimApollo last month. This will be the only time the new album will be played in its entirety live. The event was broadcasted online via a paywall, and of course, those who got tickets to witness it at the venue. Now, let’s get on with the review. I have given a long enough introduction to the band. I will also add that the album is named after their late security guard Darren “Smog” Evans:
the Ballad:
The opener begins with a drum machine that sounds tinny over minor keys and reflective vocals. This appears to be a hallmark of Damon’s solo material, but luckily for him and the listener, his bandmates from Blur are there to give the track more life akin to Blur. Graham Coxon especially rescues the song with his unique guitar playing and his backing vocals, then Alex James with his signature basslines. It is like Blur hasn’t had to shake off the rust of being absent from the studio for a decade.
St Charles Square:
For me, this track was the quintessential sound of Blur from the 90s and reminded me of tracks such as ‘Girls & Boys’ and ‘Charmless Man’. Again, Graham takes centre stage with his overdrive guitar tones.
Barbaric:
This is Damon putting the Gorillaz sound onto Blur. The subject, though, is not of the kind associated with the Gorillaz, as it is about a relationship falling apart and one of the lovers being hopeful yet bitter about it. However, they adopt something that Damon’s now friend Noel Gallagher is exceptionally good at blending melancholia lyrics over upbeat instrumentation. Staying with the Manchester thing, this track has an instrumentation that Morrissey and Johnny Marr excelled at within and outwit the Smiths. Graham Coxon’s intricate guitar playing gives the melancholia of Damon Albarn hope.
Russian Strings:
A more delicate side to the band, which sounds like ‘the End’ with overlaying guitars slow fading on the outro.
the Everglades:
So far, ‘St Charles Square’ is the only track that has resembled Blur’s 90s sound, and this track doesn’t give us a glimpse of it happening anytime soon. In fact, with the plodding acoustic guitar, this is more Simon and Garfunkel, complete with strings.
the Narcissist:
This was the track that everyone heard before the album was announced, and it was safe to say that it was an instant hit with their fans, but also music fans in general. Again, another track with melancholia but enveloped in 80s pop and 90s American Indie, so an example would be the kind of music associated with Pavement. There is also that tinny drum machine featured at the beginning of the record with Dave’s stomping drums to save the percussion element. Who wants to listen to a cheap drum machine without an actual drummer? This song is already featured in the band’s encores of their “the Ballad of Darren” tour, which shows that this track is already on its way to becoming a Blur classic.
Goodbye Albert:
Graham’s axemanship shines through as he blends aggressive with tender playing through the use of the pedal effects, so there is a lot of distortion. Alex hasn’t gone for his rapid playing on this, but rather a sense of delicacy with the bass. The lyrics delivered by Damon are him departing from his youth and entering into a more mature yet darker side of getting older. Also, as he confessed to Zane Lowe recently, he finds it difficult to sing the early Blur songs because his vocals were more youthful then, and now his vocals are a lot more bassy as he has got older. This song may be about Damon letting go of his youthful vocals and adopting the bass vocals he has acquired with age.
Far Away Island:
Damon has done many far-out projects outwith of Blur, and this one is a Brian Eno-esque experimental track. A psychedelic track over strings, with Damon adopting the vocals of a junior school kid. Will it go down well with the fans? Why not? Brian Eno makes far-out songs, but it works. You have to look at U2’s “the Joshua Tree” as a good example.
Avalon:
As we approach the end of the record, you can sense a more upbeat vibe as ‘Avalon’ opens with horns. The track itself hints towards uplifting moments, which is briefly interrupted by the sound of fighter jets ready to engage in aerial combat. The lyrics reflect the fighter jets in aerial combat, but there is a particular sinister lyric where Damon says, ‘Then I overdo my dose, and I don’t even know I’m here anymore’, which could also mean that the fighter jets are a metaphor for one taking an overdose to end their life. However, after that verse, Damon utters the line, ‘but the glass is still half-full. As mentioned earlier, the track, on the whole, is uplifting and full of optimism, then countered with the fighter jets sample. This could well be Damon feeling in turmoil about the future. I am unsure why he would feel this, as he is among the great songwriters.
the Heights:
A nod to the late David Bowie with an acoustic guitar at the intro that sounds like David’s tenure as Ziggy Stardust and the classic ‘Space Oddity’. Damon’s vocals follow. Then, of course, the rhythm section consisting of Alex and Dave brings the uplifting element. Graham had a backseat over this Sgt Pepper’s-esque track, or their counterparts Oasis who had the Beatles-esque ‘All Around the World’. Unfortunately, although they tried to element that exquisite sound of the Beatles, or Oasis, it didn’t work. The track has far too much going on, so it sounds like a mess. The band should have finished on ‘Avalon’. Yes, it had brief melancholic moments, but the rest was bombastic and uplifting.
Overall:
I will add an overall summary because you might look at the track-by-track review and think, “Fuck that. It sounds shit”. However, that is not the case at all. Yes, it is an experimental laced with Ziggy Stardust, Brian Eno, and Pink Floyd, but that adds to the mystery of Blur. They shouldn’t be known as an Indie outfit, but that is willing to evolve, and that’s the case here. I sincerely hope the band do not call it a day after the current tour because they are working as a unit in the studio and onstage. Damon and Graham have had strong chemistry since the band reformed in 2009, and the music is better for it.
Song recommendations: ‘St Charles Square’, ‘Avalon’, ‘Far Away Island’
The best thing about doing this track-by-track review of Noel Gallagher’s High Flying Birds’ fourth consecutive No. 1 album is to recycle bits of the old reviews I have done on High Flying Birds’ previous records. Of course, my views on ‘We’re on Our Way Now’, ‘Black Star Dancing’, ‘A Dream is All I Need to Get by, ‘This is the Place’, ‘Blue Moon Rising’ and ‘Flying on the Ground’ will be my thoughts inspired by others and from Noel, himself. I found myself agreeing quite a lot with what Noel had to say on some of the aforementioned tracks, as you will find out along the way:
Everybody’s on the Run:
Well, from the outset, you know the album will take you on a journey narrated by Noel Gallagher as different swathes of emotion wash over you. The introduction for ‘Everybody’s on the Run’ begins with a snare complete with the angelic singing of the Crouch End Festival Chorus and Wired Strings, with the guitars being played at a sweeping pace to add to the dramatic beginning. Before his vocals kick in, the song starts dropping to a nice, slow and steady pace. Noel delivers the music with a passionate yet desperate tone as he tells the listeners that this song is about holding onto love in the most testing times. The arrangement shows grandeur yet remains true throughout. The bridgereminds the listener that Noel is still very much in touch with rock n roll as it has this element, complete with the Wired Strings playing at an intense tempo. The acoustic guitars amazingly overtake the electric guitars and lead into the final chorus, where Noel delivers his message with pure emotion: a good way and a brilliant start to the album.
the Death of You and Me:
The biggest noticeable thing is that Noel uses trumpets( Actually, it’s him imitating trumpets. However, they are used live.), but it adds a grandiose sound to his credit. Many would be forgiven for thinking he wouldn’t use this method under Oasis as it is not very rock n roll. Well, you’re very much wrong about this song and the albums that followed. Noel remains true to rock n roll, and there are still elements of the Oasis wall of sound alive, and a bouncy tempo seems to put the acoustic guitars into mere significance on this track. It resembles more of a broader version of ‘She’s Electric. Unlike ‘She’s Electric’, this track is sung with mature vocals, bringing new charm and vulnerability, which shows Noel has changed his perspective on life now he is married with children ( No pun intended.), which adds to the track. The middle section is dreamy and catchy as Noel cleverly implants the harmonies of “La, La, La”, which is always a surefire winner as it is uplifting and infectious to the listener’s ear. The end section is dominated by the creeping brass, reminiscent of the jazz you hear from New Orleans as the song jauntily continues to flourish. As Noel added the infectious sing-a-long harmonies, the track would go down well when he took it out on the road, and rays of lights from phones and cigarette lighters get held aloft in unison when the introduction begins. Hopefully, we will see those moments again when High Flying Birds next go on tour.
AKA…What a Life!:
The song pays homage to Noel’s days at the Hacienda, enjoying the vibes as Acid House shook the building to the core. Noel uses a piano riff throughout, which is also a trait of a great house track that embeds itself in your memory bank and never leaves you. Noel has a matter-of-fact nature with an evil twist that’s switched onto the world air about him. As he heads into the chorus, he sings with a raised voice and at the top of his lungs, emphasising the word “life”, making it sound elongated to “liiiife”, which is the very last word of the chorus. An ear-piercing guitar solo finds its way in after the chorus, acting as a link before the verse. The guitar solo sends shivers down your spine. It’s not exactly something you would expect on a Dance-esque track. The song ends on a soft “woo-hoo” repeatedly as the music doesn’t end in a flurry, but rather a gentle come down as if you were back at the Hacienda as the last acid track is played and faded out to end proceedings.
if I Had a Gun…:
This was the biggest eagerly-awaited track from the debut album. There were guitar tutorials and even remixes since the track was leaked online during an Oasis soundcheck from their ill-fated final tour. The soundcheck may have sounded sketchy, and remember, the song was stripped back then, but now the song has lived up to expectations. Actually, no, it HAS exceeded the expectations it was burdened with. A piano and an acoustic guitar accompany Noel’s vocals as he sings in a fragile yet moody and restless tone, “If I had a gun/I’d shoot a hole into the sun/And love would burn this city down for me (or you. Depending on where you are in the song.).” A song that sounds in the same vein as ‘Wonderwall’ is complete with a slightly different chord change and melody. Haunting backing vocals add to the whole structure of the song. Electric guitars also lead us into the first chorus, where he delivers the line “Scuse me if I spoke too soon( Again, depending on where you are in the song.)/ My eyes have always/ Followed you around the room/ Cause you’re the only/ God that I will ever need/ I’m holding on/ and waiting for the moment to find me” with pure conviction, which is apparent throughout. It is also an ode to his wife, Sara. The lyrics will undoubtedly ensure the song stands the test of time (It has so far.)and remains a timeless classic long after we have all departed. Even when the instruments start to catch up with Noel and surround his vocals, he maintains his delivery and doesn’t succumb to arrogance as the song goes on. That reason alone shows that Noel deserves all those accolades and his place in music history. It also shows his maturity as he maintains his delivery from start to finish. In that sense, it might be a departure from Oasis, but it still has the sound of Oasis but is more grown-up. This song will(and has proved to be.)a hit with people who didn’t even like Oasis; it appeals to everyone across the music spectrum. It has also proven to be a crowd favourite, with the crowd singing along.
in the Heat of the Moment:
Once again, the house piano riff is back but veers away entirely from a house track once it kicks in. The chorus is very punchy as Noel sings it from the top of his lungs.
Riverman:
The opening track from the 2015 album “Chasing Yesterday” involves a count-in before surprising the listener with a space jazz guitar riff. In Noel’s own words, the song was inspired by a night out with Morrissey when he heard Brian Protheroe’s ‘Pinball’ for the first time despite growing up when the song was out. Initially, The song would be something different until he heard ‘Pinball’, and this track is undoubtedly a nod to Brian.
Lock All the Doors:
It was a song that had yet to be completed to Noel’s liking since it was first written in 1992 and featured on an Oasis demo tape with the bootleg freely available online. Noel was never delighted with the introduction, verse, or bridge that surrounded the chorus, and like ‘Stop the Clocks’ and ‘(I Wanna Live in a Dream in My)Record Machine’, he has returned to it and turned into a song that he feels is now worthy of featuring on an album and be played live. The song sounds like typical Oasis choc-full of attitude, and the guitars turned up loud. The arrogance in the song is much more reminiscent of ‘My Big Mouth’ from the 1997 album “Be Here Now”. This was one of the few songs that Noel wanted Oasis to play after that tour. This is the closest Noel has got to the Oasis sound since he embarked on his solo journey.
the Dying of the Light:
It’s in the same vein as a Smith’s song with its melancholic sounds despite the lyrics fusing melancholy and love. It was the ‘If I Had a Gun’ moment of “Chasing Yesterday” and, indeed, an ode to his wife. It is also a chill-out moment as the listener cools off after going mental to ‘Lock All the Doors’. Whereas that song is fast, this slows down drastically, with Noel playing the chords steadily.
Ballad of the Mighty I:
The ‘AKA…What a Life!’ track of “Chasing Yesterday” in a sense, although it does have differences. The chorus is incredibly catchy. Something that Noel mastered during his time with Oasis. Noel sounds younger than his years on that album, especially on this track. Despite all the drugs, cigarettes, and alcohol, the time has been kind to him and still given him a voice (If not more robust.) that he can use today, unlike his younger brother, whose voice started to decline after 2003. Johnny Marr also perfectly features a guitar solo on this song, which completes the song. A further note on the chorus: you will find yourself humming or singing to it.
We’re on Our Way Now:
An exclusive made for the record at Noel’s brand new Lone Star Studio, King’s Cross, London. The track is produced alongsideex-High Flying Birds Jeremy Stacey’s twin, Paul ‘Strangeboy’ Stacey. Noel has stated the song is about leaving unsaid things when you don’t get to say goodbye to someone. The song has a breakdown section reminiscent of Andreas Johnson’s 2000 track hit ‘Glorious’. It’s a folk song but done in a Noel way, with its melancholic theme and an upbeat tempo as the track goes on. It also reminded me of ‘AKA…Broken Arrow’ off the 2011 self-titled debut album. I was surprised to hear Noel return to something similar to that record. I enjoyed the strings on this and the female harmonising by Jess, Charlotte, and YSÉE. I don’t care what anyone says; those ladies make the High Flying Birds richer in sound.
Black Star Dancing:
I have heard some extremely cutting reviews of this track, but I like disco funk and enjoyed it. I will also add that it is highly elementary to play on the guitar. Nile Rodgers happened to be at the same studio when High Flying Birds recorded this, and if Nile says it’s brilliant, it is fucking brilliant. The man is the king of disco funk. Noel said the title is inspired by the late David Bowie’s final album “Black Star”. He also said that he was watching Top of the Pops 2 on BBC 4 on a Friday night, and ‘Let’s Dance’ by David Bowie came on, which inspired him to write this. Noel also said he was humming the bassline on a trip to Tesco Metro of what would become this track that has angered many hardcore Oasis fans who can’t accept that High Flying Birds are making music that is far more than stadium rock. Once again, I loved the female members’ vocals and how they sounded like they were from the era when disco-funk was at its peak.
Holy Mountain:
So, just like what was featured on “Riverman” from the sophomore record, “Chasing Yesterday” from 2015 (Yes, I said, “Sophomore”. So fucking what? I’m writing this, not you.) We hear a horn section featuring. This was also the lead single to promote “Who Built the Moon?”. It’s a bit bubble gum pop but is exceptionally catchy. You will get the chorus stuck into your head.
A Dream is All I Need to Get by:
I remember hearing this when I acquired it for DJing, and I was taken aback by how different it was to ‘This is the Place’ the EP from where it is from. You can hear twinkling castanets accompanied by Noel’s acoustic guitar and haunting vocals; the song grows and gets grander as you enter the chorus. Of course, the track is inspired by the Smiths and particularly by Noel’s good friend Johnny Marr. The song is chilled out and dreamy. It also sounded great live when High Flying Birds recently performed at the Duke of York Theatre, London.
This is the Place:
The track name came when he looked at fellow Mancunian Tony Walsh’s poetry book ‘This is the Place’. Noel asked him if it was okay to use the title, and Paul felt honoured. The song is the leading track off the EP with the same title and the second part of the “Wait and Return” EP series. You can tell that Noel has followed on from his experience working with David Holmes by making music he likes to listen to and turning more experimental as he goes on the journey with High Flying Birds. Any songs like this wouldn’t have been welcomed in Oasis by a specific member and the narrow-minded fans who only expected a particular type of sound. This track is hugely psychedelic with spacey synths, bongos, piano, a guitar lick that gets in your head, superb female vocals (Especially by YSÉE.), and something that former Creation Records label mates Primal Scream would have put on an album in the early 1990s. You could say it was inspired by Noel’s nights at the Hacienda.
It’s a Beautiful World:
It’s incredible what effects you can use in the studio. Because of the way sound effects are used to make his voice sound muffled, complete with reverb (Is that the word I’m looking for?), I haven’t heard on the live version, in the warm-up concerts, or on Later…with Jools Holland in 2018. Nonetheless, it still worked live. This track could be described as both cosmic pop and psychedelic. You have a breakdown section before the solo where the touring member, Charlotte, speaks in French (Noel said it was too late to change the spoken word when Charlotte said she mentions the end of the world. Noel did not like that and would have preferred “It is not the end of the world” to tie in with the feel-good vibes of the record.) It is also worth noting she plays the scissors on this track (Yes, that’s correct. The scissors. Fucking mental!).
Blue Moon Rising:
No, it’s not a track about Manchester City. Yes, it does have ‘Blue Moon’ in the title (Obviously.). It is another disco track inspired by Noel’s viewing of Top of the Pops 2. His vocals accompany synths and relaxed guitars. The lyrics are not up to much, but Noel has a knack for taking your attention away from that with the production (Yes, sometimes Noel can write simplistic or minimal lyrics, but hold your attention with the music.). The track is relaxed and leaves the listener open to their interpretation of the meaning behind the lyrics during the verse. Still, in the chorus, Noel shows his outstanding vocal ability as he bellows it at the top of his lungs. You can see this live as theveins bulge out of his neck. His voice has got stronger as he gets older. The way he sings at the top of his voice has yet to cause noticeable damage.
Dead in the Water(Live Rté 2FM Studios, Dublin 2015):
Well, those who yearn for Oasis love this. This track was recorded off the cuff on-air at Rté 2FM Studios in 2015 during an interview and short performance during the “Chasing Yesterday” tour. Is it completely improvised? As Noel says at the end of the track, as the presenter asks him. Well, I don’t believe him. It was far too polished to have been made up there and then, especially when you hear the keyboard solo by Mike Rowe. There’s no way Mike could have done that without getting a feel for the track. This song talks about Noel looking to hold onto a love that seems hard to recover. Apart from the whole chorus, the standout line is where he talks about having no money while looking at a photograph. Now, who can this be about? Because he had plenty of money when he met Sara. Is this Noel reaching out to someone in the past? Was it written for Louise in his Oasis days, and has been given new life? Whoever it is about, it is compelling lyrically and reminds me of the sort of song by the Smiths that would have inspired him to write this. This is classic Noel, though. He is singing with a tint of melancholy in his voice and laying his soul bare.
Flying on the Ground:
Noel best described this and took the words out of my mouth when he said this track is a nod to Burt Bacharach with a Motown twist. Because it is. We know Noel has given nods to Burt in the past, but not yet with High Flying Birds until this exclusive track. A member of Noel’s team told him to put this out as he always plays it in the Sour Mash office. Thank God, whoever that person is, because I loved how Noel fused Motown and his love of the great songwriter Burt Bacharach. Again, the female members stand out, and it is refreshing to see Noel letting them showcase their vocals alongside him—a feel-good way to end this latest record by Noel Gallagher’s High Flying Birds.
Song Recommendations: This was extremely tough as they are all strong tracks, but after much consideration, ‘A Dream is All I Need to Get by’, ‘Flying on the Ground’, ‘Dead in the Water’
Here is a track-by-track review of Gerry’s second album:
Canter:
I found out via an interview by Gerry that Canter actually is Glaswegian slang for easy. Now, being a Celtic supporter, I was amazed I didn’t know that, but somehow, I still understand what Gerry is talking about in his songs. I can watch shows like Still Game and understand most of the Glaswegian slang used. Anyway, the song is basically about how not to take things too personally and to trust your instincts; as the track points out, “Things will only get better, if only you could stop being wee less of a wanker”, or lyrics to that effect. The fans who saw him at festivals and concerts last year already knew the words before it was recorded.
War Song Soldier:
A very touchy subject is discussed in the song, but even though Gerry finds it challenging to talk about the issue, he feels the only way to express himself is to write and record it through the medium of song. That’s probably how 90% of musicians express themselves, as they find talking about darker periods in their lives too much.
Where We’re Going:
When I heard this, I felt it was a cross between the Cure, the Smiths, Johnny Marr and Morrissey with its musical style. Again, Gerry is digging deep within his soul as he talks about hitting rock bottom and trying to get through the other side, no matter how tough. He believes that if you can see a future, you can escape. I like it. It’s based on reality.
Head in the Clouds:
This song wasn’t written by the time Gerry returned to record this record but was written in just three days. The song matter is about his struggles with insomnia and how after being deprived of sleep for three days, he finds it hard to function and concentrate and therefore, the things he wanted to do all turn to shit. However, as the song progresses, you get confused and start hearing a love story emerging, and you’re thinking, “What the fuck? I thought this was about an insomniac?”. By the song’s end, you realise it is about someone in love but can’t handle the prospect of getting hurt, so they want to run rather than give the love a chance to unfold.
Dark Days:
The title is misleading but, at the same time, very apt. It talks about being able to smile and enjoy life even through the dark times that either surround our environment or our own personal circumstances. Quite apt, we are surrounded by wars, corrupt politicians, and a global pandemic.
the Bonny:
The title track is actually about chasing your dreams (No matter how crazy.) and not giving a fuck about people putting them down and building on them to see the dreams come to fruition. The song is also part of a trilogy that began on his debut 2017 album “Erratic Cinematic”. It begins with “What Have You Done” and then starts on this record with “Canter” and ends with this song unless Gerry is going to surprise us with part four on his third album.
Sun Queen:
The verses are about wasting your time and caring about things that mean fuck all, and the chorus is about focusing on the things that really are worth your time and energy.
Outsiders:
I have interpreted this song because you have your mind and do your own thing, no matter what anyone tries to tell you what to do and how to think. It’s like not following what everyone else does and becoming brainwashed by what they are being fed in the mainstream. There are even lyrics within the track where Gerry mentions that even though there are times when he can’t be fucked with making music when he hears his fans repeat back his lyrics to him, he believes in himself and music once again because the fans make it all worthwhile. Gerry said that he was given “Outsider” as a nickname, but instead of taking offence to the term, he has embraced it and sees it as a compliment. The song has a combination of Green Day and Oasis. The melody reminds me of Green Day’s “Know Your Enemy” and the riff like the bridge on the acoustic version of Oasis’ “Supersonic”, which Noel Gallagher performs these days with just Chris Sharrock striking a tambourine and Mike Rowe supplying the solo on the keyboards for Noel Gallagher’s High Flying Birds.
Roll the Credits:
This plays out like a typical early 1900s film about a couple splitting up and saying goodbye on a train platform with tears in their eyes.
Mayhem:
Although Gerry carries on playing the acoustic guitar, rather than switching up to electric (Maybe the third album?), this song has a club feel to it with its pulsating kick drum (Well, the second part of it, anyway.). The beginning, though, suggests the track takes on a Latin vibe.
Six String Gun:
The title is likely a nod to Gerry’s favourite weapon (The guitar, obviously. Henceforth, “Six String Gun”.). However, the premise is very different and discusses how to be a better person even in situations where that is extremely difficult and by showing yourself as a good individual, you will get taken advantage of. Especially in the industry that Gerry is in.
Every Man’s Truth:
This is a great way to end the album, as it discusses ideologies that we all share and whether the truth that we think we know is indeed genuine or if those who open their eyes to the world around them and don’t fall for all the bullshit that’s fed in the main are the individuals who are actually seeing what’s really hidden? The song, bizarrely, doesn’t appear to have a chorus until the end. Gerry has gone on record by explaining that “Every Man’s Truth” is about addressing the truth that we really don’t know and how everything we hear, read and see isn’t always accurate (Corrupt politics for a start.). He says that our opinions are only borrowed or forced onto us through the mainstream media and that what we believe is sold to us through our own biases and follows us from the cradle to the grave. This appears to be a dig at the secret council known as the Illuminati (You know? The all-seeing eye, pyramid folk?). Whether he does believe in that or not, I do not know, but he leaves it open to the listener to do some research or ignore him as a nutter. It’s worth looking into; from there, you can make up your own mind. Gerry says that the acoustic guitar is more honest when you’re writing and revealing the song, but I would like him to bring some electric guitar to his next album, but that’s entirely up to him.
Song recommendations: “Where We’re Going”, “Outsiders” and “Every Man’s Truth”.
Here is a track-by-track review of the latest album by the Foo Fighters:
T-Shirt:
This is an exciting start to the album. I wonder what the thinking behind the concept of opening with a short song is about what the title suggests. But it’s what adds to the magic of the Foo Fighters. They purely just don’t give a fuck about making music to line their own pockets. They do as they please, so in all fairness, this type of song isn’t a surprise when you consider, they have done a parody song about Mentos (“Big Me”. Remember that? What a fucking brilliant song that was.). I must admit that whenever I see a pack of Mentos or see someone consuming them, I think of the obligatory video in my head, making me smile. They even have a comedic lyric in this song that makes me smile whenever I hear it. “I don’t wanna be Queen, Just trying to keep my t-shirt clean” Only they would come up with a song such as this that would leave most record major labels recoiling in horror, but they don’t care. Fair play to them.
Run:
The second track is quite funnily the first single released off the record earlier in the summer as a teaser, some might say (How ironic that I mention an Oasis No.1 single there when you consider Dave Grohl is an admirer of theirs? Foo Foos even covered, “Lyla” for BBC Live Lounge (I think).). Was this track a safe bet to release as a single to tease the album? Well, in short, probably. It would undoubtedly have got avid fans on board because it is definitively Foo Fighters. Frontman Dave Grohl starts very laid back in his delivery before getting more aggressive and full of rage (You could say very passionate.)as the chorus reveals the song in its traditional Foo Foos glory.
Make it Right:
Well, here is one thing I didn’t expect from a Foo Fighters record, but it shows that they won’t bow down to what record companies want their artists to churn out. The former NYSYNC member Justin Timberlake is featured, but calm down if you’re a Foo Foos fan who disagrees with pop stars working with the band. Just relax, okay? It is better than you think. All Justin does is some melodic vocal ranges. Dave is still the chief vocalist and in control of what one would describe as a ballad full of pain.
the Sky is a Neighborhood:
Once again, another song featuring a fellow musician. This time it is none other than someone Dave and the rest of the band genuinely admire, the former Beatles, Wings and Nirvana (You heard me right. Nirvana. Albeit very briefly in 2013, I think.) member, Paul McCartney. Shockingly, Paul isn’t on the guitar or piano but takes over from Taylor Hawkins on this one (The band’s drummer if you still need to learn.). Another ballad that talks about the universe and how we behave on this planet affects it.
La Dee Da:
It’s not to discredit the following band I am about to mention, but this had an Aerosmith feel. I have to confess that I can’t stand them. Maybe, it was hearing “I Don’t Want to Miss a Thing” on every fucking radio station during 1998 when the film Armageddon was released in the summer that put me off them? I don’t get the hyperbole surrounding them. Dave is channelling Steve Tyler’s vocal spirit in this one, and all the screaming takes away the listener’s chance to get immersed in the lyrics. Music isn’t about listening to the beat or your favourite instrument, but rather the music as a whole. I like listening to it all, but I switched off quickly from this song, waiting for the following track. I will need to Google the lyrics to this track to see if the song is deprived of its beauty.
Dirty Water:
A sobering song on the record. As we know, the Foo Fighters are known for their energetic rock numbers, but this one is more like hearing those rock anthems we have come to love by them stripped back and revealing the very soul. I say that, but it starts to get progressively more rock as it enters the chorus. Although, it does begin with Dave’s soft vocals and a very original direction sonically for them in the shape of something you would hear from the Caribbean islands. It again shows that they are not afraid to experiment andchange direction. A very refreshing track indeed.
Arrows:
This track tells the story of a girl who is eaten up by all the evil in the world. The following lyrics tell the whole story in a nutshell of the song. “She had arrows in her eyes, Fear where her heart should be, war in her mind”. A lyrical track like this would fit nicely with a Morrissey song or even the Smiths if they were still around. It also reveals chillingly how the modern world is. So many people are consumed by war, fear and just pure evil. I would want to get off if this is how everyday life will go.
Happy Ever After (Zero Hour):
Ah, a track that repeatedly poses that age-old question, does this exist, or are we all waiting in vain for that moment? As we reach just over the halfway point of the album, the mood has changed to a significantly slowed folk pace (I would say so.). The guitar is gently plucked as Dave sings with a very calm and serene voice. He even dashes your hopes of superheroes ever existing (We know they don’t, but still. What a bastard, eh?) while asking, “Where is your Shangri-la, now?”. I loved the whole melody in the song and the mini guitar solos you can hear midway through and on the outro. I was trying to put a similarity on this one and couldn’t think of just one that would be in the same vein with the nature and the sound of this track (Nick Drake, Bob Dylan, Damian Rice, John Mayer, Bon Iver, to name a few.). I also had this image; I’m sitting in an American village near the cornfields while watching the Foo Foos play this one on the porch. Surprisingly, what I found refreshing about this song, is that you can hear whoever is on the rhythm guitar (Dave maybe?) when they change frets. They can remove this element with all the technology at the disposal of the producers and sound engineers in the studio. Still, it adds to the authenticity of actually recording in the studio. Plus, you hear them changing the frets during live performances on acoustic songs.
Sunday Rain:
One of my favourite parts of a Foo Foos record. The time for Taylor Hawkins to step up to the plate and take lead vocals (He even has a cover band where he performs Queen songs. I forget the name of it.). I am a big fan of “Cold Day in the Sun”, so I loved this track on the same level. The song starts with a steady drum beat followed by a guitar solo, which I could easily see being played by Noel Gallagher. Taylor says that after your wild weekend is finished, don’t approach him with sympathy and drag down his mood while you nurse your hangover. He is indeed talking about life in general. He wants to enjoy living in the moment than listen to all your melancholic fables. There are lessons some individuals can take away from this.
the Line:
Ah, a typical Foo Foos track (Lyrically, anyway.) that talks about everything we put on the line to get to where we are heading. We must endure all the blood, sweat and tears because otherwise, what is our end goal? Is there any point in doing this if we cannot throw all our cards on the table to seek our destiny? It sounds like a song by an Indie band in England that I can’t think of at the moment (Skint and Demoralized, I guess.). I love the message conveyed in the lyrics, and I strongly recommend you listen deeply. I will say that sonically, this sounds more English Indie. If Dave’s vocals were not on it, I would have assumed that an indie band from England was on this track (Let’s not get pedantic. I mean, if it wasn’t on this record, obviously.).
Concrete and Gold:
The title track sends us to the end of the road (Cheesy line when you consider what will be mentioned soon.). The final track features Boyz II Men member Shawn Stockman doing backing vocals on this eerie ballad as Dave talks about maybe a relationship between two lovers and how the roots of it are more potent than concrete, which makes it hard to let go as it is littered with gold to the two lovers, even though to those of us looking from the outside, it is heading towards impending doom. Very strange ending to the track that builds slowly in verse one, hits its peak in the chorus, drops off in verse two, rises again in the chorus, and drops to an even slower pace than the introduction and verses in the interlude that lasts about a minute, repeats the same cycle for verse three and the chorus and then ends with a whole minute of feedback.
Overall:A perfect record indeed, and I especially liked “Sunday Rain” and all of the lyrical messages conveyed on the majority of the tracks and how it could be seen as very educational on how to live our lives and heed the warnings of what the consequences could be if we don’t learn to bring peace to the world. My only issue with it (Apart from the cringeworthy “La Dee Da”) is that after five tracks, the pace drops dramatically and never rediscovers the moment when we have that punch-the-air feeling to see off the record with a bang. The title track to close off the album could have ended in true Foo Foos fashion, which I would have loved to have heard, rather than them going out with a cerebral ballad. In my opinion, every record should have an upbeat introduction, a full-on first section, a calm middle section and then an frenetic closing section. 8/10
Honest Opinions 