Noel Gallagher

Week 28: Oasis- Time Flies…1994-2009

~ honestopinions19 ~ Leave a comment

A track-by-track review of the latest compilation by Oasis:

Disc 1/Side A:

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.

Roll with it:

From the very first drum intro, you are pulled in whether you like it or not. After this drum fill by Alan White comes Noel Gallagher’s signature guitar riff. Then comes the infectious chorus where you cannot help but join in as Liam Gallagher snarls.

I loved Liam’s vocals during this period. Powerful and raw. When I witnessed this song live during their prime, I could see the cocksure attitude Liam displayed onstage while singing this. I also sensed that he knew he and the band were untouchable at the time.

The lyricism is elementary. There is no profound exploration of the meaning of life. It is about living in the moment and not letting anyone disrupt it. You can see why this has become a stadium anthem that gets the crowd rocking.


The production features layered guitars, a solid bassline from Paul “Guigsy” McGuigan, and, of course, the excellence of Whitey on drums. It’s a song that’s ready to be belted out by the crowd in various venues, inviting every listener to become a part of the performance. There’s room for every instrument to take centre stage, creating an engaging and interactive experience. It also embodied what an anthem from “(What’s the Story?)Morning Glory” should be.


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 a subtle to say he was going to be sacked?

Wonderwall:

I am not a fan of the single version or the live version with Liam on vocals. I prefer the Noel-sung version because he gets what the song means, and therefore delivers the correct tone and emotion. I will be missing that version until Noel heads back out on tour with High Flying Birds, whenever that may be.

From the outset, you are familiar with the acoustic chords, followed by the backbeat, which is hinted at in the lyrics during the second verse. A subtle electric guitar then accompanies this, before it flourishes into a crescendo of strings that sits within the production.

The lyrics, which carry a romantic essence, were shaped by Noel’s evolving aspirations over the years. The latest interpretation suggests that the song is about an imaginary friend who acts as a saviour from the creator’s own thoughts. However, as with any Noel-penned song, the interpretation is open to the listener’s imagination.


Of course, Liam is known for his snarl, which does not change even on such a delicate song. The only change is that he tones down the usual delivery. It is still there, but he understands he needs to display some vulnerability. It also demonstrates that he can deliver emotionally charged vocals—something which he seems to omit during live performances of the song, which is a shame.


Owen Morris and Noel sought a rich sound while maintaining the band’s swagger. The strings were also added with care to avoid saturating the sound, which can occur when a track is overloaded with instruments.


Stop Crying Your Heart Out:

This emotional anthem has become a fan favourite since its release from the 2002 album “Heathen Chemistry”, combining both the band’s raw emotion with a powerful, melancholic melody.

Noel’s focus for this track was on how we can pick ourselves up when life gets us down. The repeated advice in the outro to “stop crying your heart out” is a powerful reminder, urging us to persevere. It’s a call to action that empowers us, reminding us that we have the strength to face and defeat whatever is causing us a problem.


As with the majority of Oasis songs, ’Stop Crying Your Heart Out’ is shrouded in melancholic lyricism over uplifting instrumentation that builds as the track progresses, much like an individual bursting through the clouds and into the sunshine.


Of course, before the lullaby-esque final chords come the colourful guitar solo outro, which gives an element of hope and triumph; it also displays a mature side to Liam’s vocals as he sings delicately, save for when he is instructing you to get up off the floor.


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.

Songbird:

This was the first time that Liam wrote a serious song worthy of being released as a single. And there is no faulting the simplicity in ‘Songbird’.

Liam has said he has never been fond of the stripped-back tracks with acoustic guitars, but this song contradicts that. It is also removed from the usual raw energy of Oasis. The song also features a harmonica to aid the guitar and light brushes on the snare drum.

Lyrically, the track is an ode to a lover, which lends it a deeper meaning. The lyrics may be simple and repeated in the short verses and choruses, but they work. His vocal delivery shows that he is more than a snarling frontman and can display affection when it is necessary.

‘Songbird’ is not trying to be an anthem. The simplicity of it shows Liam’s ability to write a song with a simple melody and profound lyricism. It is also enjoyable to play on the guitar, despite its simplicity, which only has three chords.


Don’t Look Back in Anger:

The piano intro is partially taken from John Lennon’s ‘Imagine’. Noel has even admitted that was what he planned all along when he finally got into the studio. Before then, he had written it in a hotel in Paris. Rumour has it that Liam misheard one of the lyrics as “Sally”, so Noel decided to alter the chorus to use that name. He also met Aimee Mann and told her he wrote it, but she did not believe him.

After the piano intro, which sets the mood and tone for the song, a brief light guitar solo precedes the drum fill, followed by the whole band as the song enters its first verse. The track has grown into a fan favourite, regardless of the venue and whether it’s Oasis or High Flying Birds. Liam has also been known to perform it during his solo shows.

The lyricism is shrouded in mystery. Who exactly is “Sally”? Does it refer to an acquaintance in some capacity of Noel’s? Or is it a fictional character created for the song? All he has said is that it is about an individual looking back on life with no regrets. The chorus, with its irresistible allure, has led to many sing-alongs in various settings, underscoring the song’s impact.

I also love the guitar solo, followed by the incredible drum solo, which leads into the final chorus with perfect timing.

The Hindu Times:

This was the lead single from “Heathen Chemistry” in 2002, signifying that the band was planning to return with a bang. It had all the fuzz and reverb that we all knew from their heyday. Liam’s raw vocal snarl also returns after appearing almost tame on 2000’s “Standing on the Shoulder of Giants”.

‘The Hindu Times’ comes with the unmistakable wall of sound, complete with another huge chorus. In the verses, you hear new bassist Andy Bell’s solid bassline over Alan White’s pounding drums.

The lyricism showcases the confidence and arrogance of a band ready to rise after taking a step back on the previous album. Noel had regained his love and knack for songwriting.


The critics were not impressed that the band used a tried-and-tested method, but it was what the fans yearned for. The band they fell in love with during their rise.

Stand by Me:

This track was featured on the 1997 record “Be Here Now”. A love or hate album, as it was dubbed the ‘cocaine album’ by Noel. You can certainly see why, with layers and layers of guitars, the record comes across as overproduced. However, even with all that, ’Stand by Me’ was one of the standouts. Even better when performed live, whether electric or acoustic.

The reflective lyrics are what make this track stand out from the rest of the tracks on the 1997 record. Noel decided to incorporate vulnerability in the verses and choruses at a time when the band was at the pinnacle of its success, a testament to their unmatched confidence. Even bands like U2 were struggling to keep up during this period, a fact that makes us, as fans, feel even more connected to the band’s journey.


And then, of course, there is Liam’s vocal performance, who, despite having the signature snarl, encapsulates the meaning behind the lyrics, as evidenced by the audible emotion. You can sense that he feels the words as he sings them, and that resonates with the listener because they understand the song through their own experiences of feeling vulnerable and in turmoil.


The chorus is also another sing-along, which fans scream at the top of their lungs with an infectious passion. The bassline, orchestral flourishes, layer of guitars, and crashing cymbals are not smothered, like most of the “Be Here Now” tracks; somehow, they appear to elevate the song. And amidst all thIS, Liam’s vocals stand out, adding a unique and individual touch to the song, further fueling the energy and excitement of the live performance.


Lord Don’t Slow Me Down:

The song was released during a bridge from “Stop the Clocks” in 2006 and “Dig Out Your Soul” in 2008. It was released as a digital download only. The fuzzy guitar riff showed that the band were ready to release more material.

From the opening drums, the track is set up to be in-your-face, and that proves true as the fast tempo never drops. The guitar solo, a showcase of Noel’s experimental spirit, introduces a raw yet psychedelic sound reminiscent of the golden era of The Who and T. Rex.

The relentless acoustic and electric guitar riffs are complemented by a thick bassline, making the instruments feel alive.

The lyrics are defiant, matching the ferocious tempo of the instrumentation. Once again, the lyricism is steeped in that cocksure attitude we can expect from Noel’s mind. He prays that the Lord does not slow him down, as he wants to continue on this rollercoaster.

Noel’s vocal delivery in this song is a masterclass in emotional expression. He shows a snarl during the verses, a raw and sneering quality that we expect from his brother, as you would expect from a songwriter. Noel’s delivery is filled with a rebellious energy that perfectly captures the song’s tone. He grasps the meaning and knows when to convey the right emotions at specific junctures of the song, and he does so perfectly. The track is not pretentious in the slightest. It is steeped in blunt honesty. During a period when Noel was settled down and a father, he still had the fire in him to be defiant, rather than writing something more sedated.


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.

All Around the World:

A track that was in its infancy in 1992 finally made its way onto “Be Here Now” in 1997. The track has been dubbed their ‘Yellow Submarine’ moment, but I find that extremely harsh, as it is more alive than the Ringo Starr-penned Beatles song. To start, this is a stadium anthem; the sound is gargantuan. The intro is slow and subtle, featuring light piano, gentle strums of the electric guitar, and steady strumming of the acoustic guitar, before the drums signal the beginning of the first verse.

Liam’s trademark vocals were in full force during that tour, a period where he was unstoppable and relentless. His vocals were at their peak, hitting all the high notes and delivering powerful performances. Despite the snarl, there’s a certain innocence in his vocals in the verses. And the simplicity of the chorus, a signature of Oasis, never fails to cause a sing-along.


The track lasts 9 minutes and 20 seconds, but if you include the reprise, which was instantly added to the song live, it extends to what appears to be 15 minutes, and the people would all go home on a high after a thrilling ending. Noel finally knew he could write an outrageously long song that could still hold the attention of the listener and the audience. ‘All Around the World’ may lull in the verses, and have a quiet intro and be reduced to a plonking piano on the outro, but it is full-on elsewhere.


Noel was unapologetic during this record, and it’s evident in this song. He was not seeking moments of reflection, but rather self-assurance and utter confidence. A middle finger to what critics wanted the track to be.

Disc 2/Side B:

Some Might Say:

It is a classic indie rock song. Released in 1995 as the lead single from their second album “(What’s the Story?)Morning Glory?” and the last song to feature original drummer Tony Carroll, the track reached the top of the singles chart in the UK, which is quite bizarre given tracks like ‘Live Forever’ came before it. Despite being their second biggest song, it did not make number one, when it was more worthy than ’Some Might Say’. It, too, has become a stadium anthem for the band.

The lyrics of the song are deeply personal to Noel, reflecting his own life experiences and his battle with drug addiction. The chorus, with its emotional resonance, captivates its audience. However, as with many Oasis songs, Noel leaves the interpretation of the song’s meaning open for the listener to discover their own connection.


As for the music, you hear driving guitars, thumping drums, and of course Liam’s sneering yet melodic vocals. A guitar solo greets you at the intro, which sets up the rest of the song—not forgetting that anthemic chorus, which has uplifting lyrics about finding a brighter day.


During the breakdown, we hear a spellbinding guitar solo by Noel, adding more energy to the track. This is definitely one to listen to live, as there is an extended outro with Noel embracing the solo, accompanied by Gem, Bonehead, Andy, and Joey supplying the rhythm section.


Champagne Supernova:

A light electric solo joins a quiet acoustic guitar solo on the intro, and of course, the sound of waves leads us into the verse where Liam starts to sing. The track is not your typical in-your-face anthem by the band, but rather a slow-burning number that evokes a sense of calm, sending the listener into a state of tranquillity. Then, on the final lyric of the verse, the electric guitar thrashes and is joined by full instrumentation. Noel has often been accused of writing songs that are not complex, but here he demonstrates he can switch it up with an atmospheric soundscape.

The lyricism is surreal, containing lines like “Slowly walking down the hall, faster than a cannonball.” It is nonsensical, but somehow it conveys a meaning where there should be none. The lyricism draws you in, and somehow, you try to find your meaning behind the lyrics. I cannot tell you how, but it just happens. You will understand how it all works when you see it performed live.

Liam Gallagher also shines here as he tones down his trademark sneer for a more reflective, and melancholic tone before kicking it up in the chorus. And who can forget that dazzling solo by his brother Noel Gallagher? Witnessing it live is truly amazing. It may not be a virtuoso solo, but it is soaring and melodic, embracing the spirit of the song. Everyone is working together here, and it shows the band in their prime.

Of course, this was the final track on their sophomore record, leaving the listeners feeling elated. It also showed that the band were ready to move into the stadium setting. The song itself became an anthemic sing-along for the fans before the band walked off and returned to perform the encore. On the current tour, it acts as the finale, and why not? It is a great way to top off a gig.


Rather than having a catchy chorus, the song is about a sense of community. This was released only in the United States, and sadly, it was shortened to be radio-friendly, but you need to hear this in all its glory. Whether it’s the studio version or witnessing it live, it lasts over 11 minutes and features a blissful outro. The track is Noel’s finest work.


The Importance of being Idle:

Released in 2005 from the album “Don’t Believe the Truth,” this one was less about being a stadium anthem and more about the lighter side, with Noel taking over vocal duties.

Noel Gallagher gets the vocal delivery just right, where he talks about taking it easy against the relentless pace of modern life. The title is apt with the lyrics contained within.


The track is built on a simple, lightly strummed electric guitar. Something that Noel adopted more after “Heathen Chemistry” instead of the ferocious strumming before. He wanted his guitar playing to be more nuanced, reflecting his growing maturity and wisdom, as evident in the writing of the track.


‘The importance of being Idle’ is not vicious in tempo, but rather mid-tempo, reflecting the lyrics. It showed that Noel could turn his hand to lighter songwriting rather than the typical anthems. It lacks the brashness that Oasis usually exhibits, but it still gets the audience singing along nonetheless. It is also a pleasure to play this short song on the guitar. Even the soft songs still carry weight. The song was well-received by fans and critics alike, thanks to its catchy melody and relatable lyrics, which made it a standout in Oasis’s discography.

D’You Know What I Mean?

The leading single from 1997’s “Be Here Now” was a taste of what was to become. It gave us a sense of excitement as we waited for their third album. The drums on the intro are apparently taken from Public Enemy’s ‘Fight the Power’, and Noel is supposed to be a fan of the hip-hop collective. I think I read that in Paolo Hewitt’s book “Forever the People”. This song is like a guitar war as they layer with flanger, delay, and wah-wah, wanting to be the dominant axe in the track. Going back to the drums, Whitey drives this as he thumps the beat, and of course, Liam’s trademark sneer.

Noel, of course, leaves it all open for the listener to take away what the meaning is, and he drops a Beatles reference in, complete with an anthemic chorus fit for stadia.

The song remains great, almost three decades on, but it also serves as a reminder of how overproduced “Be Here Now” was. Noel only attempted to refix one track from the album in 2016, and he chose this. To be honest, with all the ridiculous layers removed, it sounds so much better. “Be Here Now”, produced in the manner this track was in 2016, could have made all the difference to the criticism the record has received since its release in August 1997, but hindsight is a wonderful thing.


However, it is a primal track beneath the layered guitars, and a band that had no plans to slow down during their prime. This track sounded amazing live during the tour, and less bloated. It unapologetically embodies the ethos of Oasis.

Lyla:

The lead single from 2005’s “Don’t Believe the Truth” acted as a defiant statement, and an ode to his then-girlfriend Sara. Oasis had regained the ability to make songs ideal for the stadiums.

The song contains driving rhythms and a sing-along chorus. There are layered guitars, but it does not sacrifice the raw energy that the band were known for during their hedonistic days. It signified a resurgence of vintage Oasis.


The vocal delivery is, as usual, the signature of Liam. He bellows out the chorus, and live this is in unison with the audience, who make his vocals soar as it seems to give him a boost.


The track is a quintessential Oasis anthem. It is catchy and has plenty of energy. When it was released as a teaser for the record, it was a thrilling sign that the band were back to their best, as they finally had a settled lineup for the first time since 1998, despite the teething problems they experienced during their headline set at Glastonbury almost a year earlier. The track has no heirs and graces. It is just pure rock n roll. The formula of Noel’s songwriting prowess is there for all to hear.


Let There be Love:

The track begins with a reflective and gentle acoustic guitar intro. Something not familiar with most Oasis tracks that are singles. The vocal collaboration between the Gallagher brothers is something to behold on the sublime ballad. Of course, Liam has most of the vocal duties, but Noel’s backing harmonies and co-lead give this track the emotion needed.

The instrumentation in this Oasis track is not your typical, but more restrained. Soft pianos over gentle acoustic strumming, accompanied by a light bass and tempered percussion, create a unique backdrop. However, it’s the vocals and melody that shine, drawing the audience in and making them feel connected. It’s an anthem of the band, but with a more gentle tone.


The lyricism is more reflective and more mature compared to the louder Oasis tracks. It also talks about unity. It is also quite odd to hear the brothers collaborating on such a track, given their volatile relationship during this period. In a way, maybe they were reaching out to each other about calling a ceasefire on their bitter war.


The track from 2005’s “Don’t Believe the Truth” doesn’t beat around the bush. It’s a clear demonstration of the band’s maturity. The track doesn’t meander with the message, but rather gets straight to the point from the opening verse. This directness is a sign that the band was capable of creating tracks that resonated with a more mature audience. This transition was perhaps inevitable as the band members were getting older.


This single showed that Noel could write songs about vulnerability as well as the usual ones about self-confidence and invincibility. Even the loudest of bands can have moments of introspection.


Go Let It Out:

After two years of hibernation, Oasis returned in the 21st century with the lead single ‘Go Let it Out’ from “Standing on the Shoulder of Giants”. It was not their usual explosive return, but more a Beatles-esque one. More of the Fab Four’s psychedelic era, as you can hear acoustic strumming over a mellotron, delicate strings, and an easy-going rhythm section. It caused a storm when they released it because most were expecting an anthemic explosion. Not something psychedelic.

Liam’s vocals are also tempered to match the mood. Even the chorus is not full-throated, but still has impact. The single matched the overall theme of the album.

Although the fanbase was not happy upon its release, it showed that Noel was willing to take the sound in a different direction, and despite all the criticism, it is still played live.

The song demonstrated that the band could move away from their big-venue anthems and do more reflective material, which showcased the maturity in Noel’s writing at a time when he had fallen out of love with writing and was battling the block. One from their underrated singles collection.

Who Feels Love?:

This one had more psychedelia with a sitar included to add to the effect. Overall, it featured light strummed acoustic guitar and hypnotic percussion, creating a dreamy Middle Eastern vibe. This was certainly more latter Beatles than early Oasis.

Again, Liam was willing to adapt to the mood with a more melodic delivery to match Noel’s searching vulnerability within the lyrics. The focus on Noel’s writing is loneliness, solace, and human connection. Again, the sound and lyricism demonstrated maturity and a more reflective tone.


As with ‘Go Let it Out’, the single also received a mixed reception upon its release. The fans were unhappy that the band were leaving behind the raucous sound they were known for. Many were underwhelmed with their flirtations of psychedelia, finding it “boring” and far too experimental. It did not chart as high as their anthems, which might have been down to the listeners rejecting a more tempered version of the band.


Despite all that, the song is an underrated masterpiece from their catalogue. They may have caused a disconnect with a significant portion of their fan base, but they should be commended for being willing to try something original. It showed that Noel wanted to explore one of the many influences on the soundtrack of his life. Give this one a go. Open your horizons because songs like this from “Standing on the Shoulder of Giants” are worth exploring to appreciate a different angle and broaden your musical perspective.


Little by Little:

Surprisingly, this is not my favourite from 2002’s “Heathen Chemistry”, but ‘Little by Little’ runs close. I have loved this song since I first heard it, and I enjoy watching High Flying Birds perform it. I also enjoy playing it, especially when I get to the breakdown. There is something satisfying about playing that section, but I cannot quite put my finger on what it is. The intro and the verses are hypnotic to me as I drift off to another place when playing it on the guitar. I love Noel’s apt emotional vocal delivery.


Noel’s warm and moody vocals don’t need any added attitude. He pours his heart into the pre-chorus and chorus, and the audience, in turn, finds their voice, singing it back to him during a live performance. This shared experience creates a palpable sense of community, where each member is an integral part of the performance.


The track is welcomed by a short electric guitar riff, followed by reverb, and then an acoustic guitar is delicately and quietly strummed alongside a gentle electric guitar. As the chorus creeps, so does the whole band, and of course, the Oasis soaring melody. Noel’s guitar solo is elementary, but effective.

This was when Noel’s playing became more nuanced. He did less ferocious strumming, adopting quieter downstrokes, which showed an artist maturing and taking it more easily.

The Shock of the Lightning:

This leading single taken from 2008’s “Dig Out Your Soul” is full on from the very first snare. It is fast-paced with a guitar riff during the intro and verses. It signified that Oasis were back with a bang. They wanted to show the world that they still had it, and they should take notice. It is no surprise that it was a huge success among fans on their previous tour and became an anthem. This was also the last track to feature Zak Starkey on drums, who perfectly matches the song’s tempo.

Liam’s sneering vocals of yesteryear make a welcome return. He never lets up. ’The Shock of the Lightning’ was quintessential Oasis that can only be played loud and encourages the audience to sing along to.


People had been saying the band had lost their identity because they were being more experimental and psychedelic, but this showed they still had that raw energy. It proved to be one of a few tracks from the album to display that.

She is Love:

Another single taken from “Heathen Chemistry” begins with a softly strummed acoustic guitar, which is the leading instrument besides Noel’s vocals. This ode to his then-girlfriend Sara oozes simplicity. Noel’s vocals are delivered in a warm and sincere tone. The backing harmonies do not suffocate the acoustic or Noel’s vocals.

The lyricism is Noel not trying to be fancy, but expressing how his heart feels for her. There is also a sense of psychedelia in the instrumentation that accompanies the acoustic.


Regarding “Heathen Chemistry,” this upbeat love song brings a sense of calm. It might not be a stadium/arena anthem, and it has never been played live in those settings, but it is a beautiful track that shows Noel can write a song where less is more.


Whatever:

How this was never included on an album is beyond me. It finally did make it onto a record, which, funnily enough, is the one you are reading about right now. ‘Whatever’ acted as a bridge between “Definitely Maybe” and “(What’s the Story?)Morning Glory?” when it was released in December 1994, and unfortunately just missed out on the top spot. The intro begins with an acoustic guitar, accompanied by piano, strings, a simple rhythm section, and an intermittent electric guitar riff.

Noel also departs from his usual to write an ode to liberation and the innocence of youth. Liam also tempers his vocals to match the wistful tempo. The chorus, a true Noel masterpiece, is a sing-along that has been joyfully belted out by the crowd countless times, creating a sense of unity and shared experience, regardless of the version.


The song itself has become timeless and is not tied to the era in which it was born. The strings really add to the colour. Some might say (ha ha!) the strings give it a cinematic feel without causing overwhelm. It is a track for all venues, and whatever (ha ha another one!) the weather.


The track shows Noel’s versatility and songwriting prowess. Oasis managed to find new boundaries in rock, yet still ensured the message did not pass the listener by. I love this song, full of optimism and joy. It deserved to be the Christmas No. 1.

I’m Outta Time:

This single from 2008’s ‘Dig Out Your Soul’ is melancholic and stripped back. Rather than the usual wall of sound, this Liam-penned song is an acoustic guitar melody. Over the delicate rhythm section, wistful guitars create a reflective mood. Liam bares his soul.


Liam’s vocal delivery is reminiscent of his late idol John Lennon, rather than his signature snarl. Liam shows his human side and highlights maturity in his vocals that is seldom heard.


In a record full of full-on rock and experimental, ‘I’m Outta Time’ gives the listener a chance to breathe and reflect. The song could also be seen as the band approaching the end of the original run, as it shows quiet contemplation and finding peace with the inevitable, rather than trying to hold on with the usual anthem.


Undoubtedly, this is a masterpiece from Liam’s songwriting arsenal, a gem that deserves more recognition. It’s a testament to Liam’s exceptional talent as a songwriter and his ability to craft a song that resonates with the audience. I can only hope that Oasis will recognise this and add it to their setlist, perhaps with the enchanting accompaniment of the Festival Crouch End Chorus, as I had the pleasure of experiencing in 2008. Their backing only served to enhance the song’s beauty.

Falling Down:

The current single, released in March 2009, is often overlooked for its psychedelia, yet it remains an integral part of their discography. It may not be an anthem, but it features sonic experimentation, even as the band approached the end of their original run.

The psychedelic landscape, a departure from their usual wall of sound, is polished and introspective. The motorik drum beat is joined by swirling guitars, angelic strings and shimmering effects, creating a sound that is engaging. Dave Sardy’s involvement in the album, particularly with ‘Falling Down,’ has resulted in a polished, expansive sound that takes the listener on a mental trip. The polished and introspective nature of the track encourages the listener to pay close attention to the lyricism rather than get lost in a loud sonic boom.


Noel, as usual, delivers this with his trademark vocals. You know? Reflective and philosophical. He talks about trying to reach out to God, but receives no answer, and pleads with Him not to waste his time if He cannot save him. Noel claims to be agnostic these days, rather than keeping his Roman Catholic roots, but this one has biblical references.


Was it also written about the band falling apart? Who knows. Noel likes to leave it all up to the listener to decide. It may be a more laid-back track, and might I add, my favourite from “Dig Out Your Soul”, but the message is potent. Noel was willing to push the band in other directions, mainly towards experimental and atmospheric sounds, as demonstrated on this one. Noel would further explore different avenues when he formed High Flying Birds in 2011. This song showed the band’s intriguing creative output during the chaos of the original run.


This recent atmospheric track stands alone from their usual stadium anthems. You cannot help but listen to it on the record or rewatch live performances of it, and learning something new every time from the meaning of the lyrics. Hopefully, Noel will revisit this with High Flying Birds at some point because it is a gem.


Don’t Go Away:

This was a single released in 1998, I believe for the American market only, and does not reflect the general mood of 1997’s “Be Here Now”. It is somewhat melancholic compared to the grand sound of the rest of the album. I love the raw emotion in this track, and it showed a level of maturity seldom seen during that crazy period.

It begins with an acoustic guitar, its gentle strumming setting the stage. An electric solo joins in, adding a layer of complexity. A light-fingered piano follows, its delicate notes adding a unique texture. As the composition progresses, the tempo ebbs and flows, drawing the listener’s attention to the heartfelt lyrics.

Noel’s is more direct and vulnerable as he wrote this ode to his mum at a time when she had a health scare. The title suggests that he hopes his mum is around while he is still alive. Liam’s vocals reflect how Noel envisioned delivering this ode, and his little brother excels at it. You can hear Liam’s voice crack as he sings the words to his mum. This is Liam shedding all of his rock star bravado and laying his soul bare, as his middle brother did with the lyricism—one of his best vocal performances.

Compared to the majority of their discography, ‘Don’t Go Away’ is a refreshing one. It reveals a different and much-welcome side to the band, showcasing their versatility and Noel’s exceptional songwriting. Liam’s profound understanding of the song’s meaning is commendable, making it a simply blissful ode to their mum.

Sunday Morning Call (Hidden track 2 minutes):

The 2000 single comes in two minutes from the transition of ‘Don’t Go Away’. Noel opted to make this a hidden track because he does not have a lot of love for it, despite playing it during the “Standing on the Shoulder of Giants” tour in 2000 and “Brotherly Love” in 2001. I do not know why Noel detests it so much, but for me, it is the best song from 2000’s “Standing on the Shoulder of Giants”, and was the beginning of Noel’s departure from heavy drug taking and heavy drinking. I call it the sober, mature song, because it is. It’s a quiet and reflective track.

The song begins with the gentle strum of an acoustic guitar and the ethereal touch of piano keys, all set to a melancholic melody that endures even as the full band joins in. Noel’s vocal delivery, once again, is successful. His voice, as it soars during the chorus, manages to maintain perfect harmony with the track’s mood, keeping the listener connected.


Noel has always been brilliant at matching the lyricism to the music when he takes over vocal duties. It is about the uncertainty of whether things will ever work out right. Maybe a reflection of himself, weaning himself off drugs, and being unsure if he could be strong enough never to stray.


The song fitted perfectly with the rest of the record. I love Noel’s versatility, and the band’s willingness to let him explore new soundscapes and more sobering subjects such as this one.


The song was never intended to be a sing-along or a crowd-pleaser, but rather for the listener to reflect on whether in solitude or at one of their gigs during that period—a very underappreciated, and undeservedly disregarded song. I often find myself listening to this because I do find beauty in the melancholy.

Song recommendations: Are you fucking serious? No chance. There are far too many.

9/10

Week 14: Mumford & Sons- Rushmere

~ honestopinions19 ~ Leave a comment

Mumford & Sons. The name alone has me picturing folk and Americana and the familiarity of the banjo. It took me a while to come around to their music. I didn’t dislike them; I found “Sigh No More” ideal as background music. But they never quite captured my full attention, remaining a band I politely tolerated rather than passionately embraced.

However, over time, their music began to seep into my consciousness, altering my perception and kindling a newfound appreciation.


It was 2015, and I was settling in to watch “Later…with Jools Holland,” expecting the usual mix of established acts and rising indie darlings. When Mumford & Sons performed, I expected to hear the usual. I was utterly taken aback by what I heard.


What followed was a sonic jolt. The band launched into “The Wolf,” a track that shed the banjos and acoustic guitars in favour of distorted electric guitars, driving drums, and a raw, almost primal energy. That folk element everyone had been accustomed to was replaced by a full-blown rock attitude. I was completely taken aback. This was the side of the band I had yet to have heard.

It was a revelation. The track was powerful. Signalling a significant shift in the band’s sound. It was a risk that paid off. After that appearance on Later, I decided to give the band a proper chance, diving deeper into “Wilder Mind” and re-evaluating their entire discography. I particularly enjoy watching/listening to their live shows.


Now, let’s delve into some background on this West London ensemble. Mumford & Sons, formed in 2007, comprising of members Marcus Mumford (vocals, guitar, drums, mandolin), Ben Lovett (vocals, keyboards, accordion, drums), Winston Marshall (vocals, banjo, guitar, dobro. Winston left the band in 2021), and Ted Dwane (vocals, bass guitar, double bass, drums, guitar). They quickly and impressively rose to prominence with their distinctive blend of folk, Americana, rock, and bluegrass, characterised by their soaring vocals, intricate instrumentation, and introspective lyrics. Their early albums, including “Sigh No More” and “Babel,” were massive commercial successes, cementing their place as one of the most popular bands of the decade.


However, with “Wilder Mind,” they consciously moved away from their signature sound, embracing a more electric and expansive sonic palette. While the change would inevitably divide fans, it opened them up to a broader audience and allowed them to explore new creative avenues.


What followed was the 2018 album, “Delta”. Another record showing their ambition and their willingness to experiment with various sounds, and connect with a global audience. Their collaboration with African musicians such as Baaba Maal seemed to have inspired this direction, making their music resonate with a wider, global audience. It may not have sounded like their first two albums, but it proved that they could push the creative boundaries. Now we are up-to-date on what the band released and Winston Marshall’s departure amid controversy in 2021; we will crack on with the review “Rushmere”—their first record in a staggering seven years.


Why “Rushmere”? The title carries a double meaning. Rushmere, a lake in Wimbledon, South-West London, is where the band formed, and this record is a return to their roots. The album, therefore, is reflective. Recorded in RCA Studio A, Nashville, and their home studio in Devon, this period from 2022 to 2024 was their most productive. Interestingly, frontman Marcus Mumford released a solo album the same year the band returned to the studio. This decision might have been influenced by a conversation with Noel Gallagher in a London pub, where he challenged Marcus to fully utilise his songwriting talent, both as a solo artist and with the band.


As usual, the songs ease your soul and are just the tonic when you feel the world’s weight on your shoulders. The album itself has a confessional lyricism and offers hope as the record goes on. So stick with it, even though the beginning is downcast.


Despite the melancholic verses, the opener ‘Malibu’, also their latest single, starts with that unmistakable rousing chorus.


It’s intriguing that others, rather than just the band, wrote a few songs. Adele and Liam Gallagher songwriter Greg Kurstin is one of them. He writes the title track and sends it in a Fleetwood Mac direction. The band’s adaptation of Fleetwood Mac on ‘Caroline’ is a fascinating development, suggesting a new direction for their music. More than likely drawing inspiration from Greg’s song.
Returning to the title track, it was the teaser and leading single. It is a song that is the quintessential folk side of the band enveloped with Fleetwood Mac. ‘Monochrome’ is a romantic ballad that somewhat lightens the mood.


’Truth’ is when the mood shifts, with Marcus radiating confidence over the track. However, this confidence is short-lived, as we soon arrive at the fittingly titled ’ Surrender’. While I believe this is the piano ballad, it’s been a few days since I last heard it, so my memory might not be entirely accurate. In the early section of the song, you can hear his vocals breaking, a clear sign of the emotional depth he’s delving into. Marcus’s performance is a masterclass in emotional expression as he transitions from powerful vocals to tender ones, reflecting a profound ache and a heart struggling to heal.


As I mentioned earlier, the album is reflective, and the lyricism mirrors that. You believe every heart-shredding vocal that Marcus delivers. It’s the same as when he delivers vocals displaying optimism. While the band has always been known for their jovial and forthright songs, this album marks a significant evolution, showcasing a level of maturity we haven’t seen before. The record harks back to the heady days, a nostalgic treat for those who appreciate it. As for me, I’m still processing my feelings about it. However, I can’t help but admire the depth of the lyricism. The album’s conclusion with ‘Carry on’, a song brimming with hope, is a fitting end.


Song recommedations: ’Carry on’, ’Truth’, ‘Malibu’

7/10

Week 45: The Cure- Songs of a Lost World

~ honestopinions19 ~ Leave a comment

I first heard The Cure when they released the relatively upbeat ‘Friday I’m in Love’. I then saw frontman Robert Smith on the television on the Chart Show on ITV, and he scared the shit out of me. I was terrified of how he looked for several years, and my phobia of him and goths did not subside until I met them in high school. It was then that I started to understand that they were nothing to be afraid of, and my perception of goth culture changed. Anyway, I have been listening to the band for a few decades and was thrilled to see Noel Gallagher ask Robert Smith to remix ‘Pretty Boy’. Who saw that coming? Noel, a fan of The Cure, and requesting Robert to remix a High Flying Birds track? Back to the band, this is their first album in 16 years. Their last being “4:13 Dream” in 2008. They played a year earlier at Teenage Cancer Trust, where I saw the band in a new light. I only knew them for their pop classics, but this showed more of their gothic persona. Long intros and guitars tuned into D. The latter represents a more gothic and metal sound.

It’s quite strange that the band has toured consistently since 2008 but hasn’t released a new album. The fans feared that the band were becoming a greatest hits act, so it was nice to hear new material being teased since their 2022 tour.

The fans were relieved to hear new material and accepted it, which can be a gamble because the majority turn up to the gigs to listen to the classics and other familiar songs. I disagree with this, but most do. I would prefer to hear a balance. Funny how things change, eh? In 1995 at Glastonbury, Robert joked that their forthcoming “Wild Mood Swings”(released the following year)would probably be purchased at Camden market before its release. These days, records can be streamed, downloaded, and leaked on YouTube before they are even available for purchase.

‘Alone’ opens the album and is a sign of things to come. Long, drawn-out intros before Robert utters a single verse, usually beginning around the 3-minute mark as most of the eight songs last over 7 minutes, with the final track lasting almost 11. The themes are also pretty heavy. Discussing the deaths of his parents and his brother among them.

This record, unlike the commercial pop-friendly uptempo songs such as ‘Friday I’m in Love’, ‘In Between Days’ and ‘Just Like Heaven’, delves into deeper subject matters. Despite its weightiness, it’s still relatively easy to listen to because you get lost in what Robert says. My favourite on the album is a song I first heard during the previous tour, which only recently ended, called ‘I Can Never Say Goodbye’. This song, a heartfelt reflection on the loss of his brother, is a testament to the album’s emotional depth. Robert’s struggle to perform it live without succumbing to his emotions was evident, as he often moved away from the microphone, tears silently streaming down. I recommend listening to the lyrical content. It is wonderful yet heartbreaking.

The final track, ‘Endsong’, is the lengthiest track on the record, just under 11 minutes. It’s a journey back to Robert’s childhood, where he was playing in the garden, gazing up at the moon in awe thinking about how man went there. Now, as an adult, he’s attempting to piece together the significance of these memories. It’s this deeply personal connection that resonates with fans like Noel Gallagher , who, as a songwriter himself, can truly appreciate the genius of Robert’s songwriting.

There are some new additions to the band. Roger O’Donnell rejoins to play keyboards to be reacquainted with Robert, Jason Cooper on drums and Simon Gallup on bass. Before I talk about the next member, I would like to say that, as usual, Simon never disappoints. I often compare him to Peter Hook, and it is easy to understand why. They sound similar and are both sublime bassists. Now, back to the final addition, and making his debut on guitar, Reeves Gabrels, who did a fine job considering the nerves must have been jangling during the recording sessions. I am unsure whether the other returning member, Perry Bamonte, is featured on the album, but he has most certainly been performing live. The new album, ‘Songs of a Lost World ‘, is a return to their former glory creatively and musically, and the title reflects the themes and inspirations behind the music.

Can they improve on the next? Hopefully, there is another album in the offing, but they will have to do something extraordinary to beat this one. The Cure could have settled for playing albums in full during anniversary years or playing their greatest hits, as it is more than enough to satisfy the masses. However, they chose to dedicate themselves to creating fresh material, a decision that paid off. Hopefully, it isn’t the end of their recording days, and they are given time to work on it as they please, but if it is the final record, then the 16 years of waiting were worthwhile.

Song recommendations: ‘I Can Never Say Goodbye’, ‘Endsong’, ‘And Nothing is Forever’

9/10

Week 41: Coldplay- Moon Music

~ honestopinions19 ~ Leave a comment

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.

Song recommendations: ‘GOOD FEELiNGS’

5/10

Week 37: David Gilmour- Luck and Strange

~ honestopinions19 ~ Leave a comment

David Gilmour returns nine years after his previous solo album. He announced his return with the leading single ‘The Piper’s Call’ a while ago now. “Luck and Strange” is David’s fifth solo record since he embarked on a solo career in 1978. Of course, he was also in Pink Floyd back then and has been in sporadic reunions. Many have said the Pink Floyd albums he did without one of the founding members, Roger Waters, are nothing more than David’s solo career concealed behind the band’s name. Especially “The Endless River”. I bought that as a Christmas present for a family member. They were left unimpressed as it was full of guitar solos and instrumentals. The only track with vocals on was a soundbite of the late Stephen Hawking. I have heard the record and concur that it is just David performing guitar wizardry.

I find it quite odd that after 46 years as a solo artist, David has just released five albums. Okay, he has done records with Pink Floyd, but even they have been quite lengthy album-to-album. I also found it rather bizarre that he appeared on Later…with Jools Holland in the ’90s when he wasn’t on tour or releasing any material. His estranged former band member Roger Waters hasn’t released many himself, with 4 in over 40 years. Is this a way of signalling yet another reunion? They seem not to care that much about releasing their own material. Especially in the modern era, when promoting an album via a tour is necessary. Or is it a case of them needing each other to bounce ideas off but being too stubborn to set aside their differences?

As much as my political views do not align with David’s or the fact I wasn’t born with the fine bone china spoon in my mouth, I will not let this blur my judgment on how great a guitarist he is. Besides listening to him, whether solo or with Pink Floyd, the way he plays is effortless. He doesn’t even look like he is concentrating. He is that smooth. My favourite solo of his will always be from ‘Comfortably Numb’. His axe-manship is also easy to define. It doesn’t matter if he is collaborating or not. You know it’s him. I cannot recall when I first heard Pink Floyd, but I remember seeing this really cool sleeve of “Dark Side of the Moon” and thought I’d listen, and it remains one of my favourites. I loved listening to it when I was baked. It didn’t encourage me to seek out David’s solo work; I just wanted to do it anyway because I found him to be a great guitarist.

His next solo album, “About Face,” was released in 1984, and it is considered his best by his fans and peers. Although he wrote most of the songs, he co-wrote a few with Pete Townshend. Returning to his relaxed approach to releasing albums, his follow-up was an astonishing 22 years in 2006 with “On an Island,” during which time he was chastised for using his wife as the songwriter. 

Of course, it would take another nine years before he released his third album, “Rattle That Lock,” another record that received scathing reviews from the critics. ‘In Any Tongue’ was one of the few tracks that was any good. I imagine the critics savaged David again because he employed his wife for songwriting. However, it’s important to note that ‘Rattle That Lock’ was a vast improvement on “On an Island,” a sign of hope and optimism for the future.

Another nine years after his fourth album is “Luck and Strange”, which I have enjoyed listening to so far. It seems David has regained his hunger, and it was well worth declining Noel Gallagher’s request to do the solo on ‘Easy Now’ because he was busy recording this. Again, his wife returns as lyricist, his son on backing vocals, and his daughter takes lead vocals towards the end of the record. I actually think it’s the last track, but it has been over a week since I last listened, so my memory hasn’t been jogged.

Hindsight is a beautiful thing, and maybe I should have sought out the extended edition, which has an additional two tracks that are instrumentals. David isn’t a strong vocalist, but he is superb when he lets his guitar playing do the talking. The opener is called ‘Black Cat’ and is your quintessential David Gilmour sound. ‘Vita Brevis’ is a brief acoustic track over an album brimmed with long tracks that features sudden silence before going back into it. The final track is an extended version of the title track. It is dubbed ‘Luck and Strange Original Barn Jam’. This appears to be added as filler, but it’s David with his band having fun and goes on for 12 minutes. The guitar playing is once again effortless.

On the shorter version of the title track, David has added the keyboards of his late bandmate Richard Wright. This is a beautiful and nostalgic tribute to him. Does it sound like Pink Floyd for this reason? It probably does, invoking a sense of nostalgia. However, I find that David’s solo material is more removed from the band.

‘Dark and Velvet Nights’ is another highlight with organs and an ear-bursting sound. ‘Scattered’ has a piano solo, and you would expect David to follow it up with a guitar solo on this progressive blues track, but instead, he starts singing. ‘A Single Spark’ is a ballad with David at one with his Fender Stratocaster. I can just imagine him closing his eyes and falling into a trance as he plays effortlessly.

I feel ‘Between Two Points’ with his daughter Romany doesn’t get the love it deserves. The penultimate track addresses misogyny with lyrics written by her mother, but that isn’t why I like it. I like Romany’s vocals on this family affair track backed up by her father’s almost vocal-like axe-manship. ‘Sings’ is an acoustic ballad, which isn’t all that, I’m afraid. It’s a bit bland for David’s calibre. ‘Yes I Have Ghosts’ is a folk track over an acoustic that might not please the purists. The record, which I was shocked to see usurp Oasis, is…I don’t know. I love his solos and overall playing, but there isn’t a punch to it. The lack of ‘punch’ in the record, in my opinion, is due to the lack of dynamic changes and the consistent mid-tempo pace. It is mid-tempo to a plod. There’s not much change in the tempo—nothing to really get you moving.

In conclusion, I would encourage you to savour David Gilmour’s sublime playing and effortless solos. This is the heart of the record, a true reflection of David Gilmour’s artistry. The album itself is a typical display of his carefree attitude towards recording, a trait he often exhibits. He hints at a follow-up after the tour. As I said, this is a celebration of his guitar mastery, above all else.

Song recommendations: ‘Black Cat’, ‘Between Two Points’

6/10

Week 36: Oasis- Definitely Maybe 30th Anniversary Reissue

~ honestopinions19 ~ Leave a comment

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’

9/10

Week 50: the Killers- Rebel Diamonds

~ honestopinions19 ~ Leave a comment

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’

8/10

Week 42: the Rolling Stones- Hackney Diamonds

~ honestopinions19 ~ Leave a comment

Here is a track-by-track review of the band’s new material for a very long time:

Angry:

The teaser for the record is undoubtedly up-tempo and effortless. It reminded me of some of their songs from the 80s. More so with the riffs rather than Mick’s vocals, which never seem to change.

Get Close:

What I liked about this track is the band went rogue with this one and added a saxophone solo and harmonies that are hardly “a la mode”. However, I like all that avant-garde stuff, so fair play to them for not trying to follow the trend—the first of two tracks to feaure Elton John.

Depending on You:

It is a radio-friendly country ballad complete with soaring strings.

Bite My Head Off:

Paul McCartney (Who recommended they return to the studio for the first time in over a decade.) features on this punk-fuelled track. You wouldn’t know his presence on the track until Mick bellows, “Come on, Paul!”. 

Whole Wide World:

Another high-energy track that discusses Mick and Keith addressing youngsters about the things to look out for before they grow old and wise.

Dreamy Skies:

This is the halfway point and the end of the A-side of the vinyl (if you happen to purchase it.). As you can imagine, as it is the final track on the A-side of the vinyl, the tempo eases to a plodding country ballad, yet instead of lulling you to sleep, it still maintains the energy enough to grab your concentration.

Mess it up:

The vinyl’s flip side, or the second half of the record, begins with an outro/intro to give you the sense of being involved in the recording process in the studio with the band. Disco is not their most robust genre for experimenting, but it works with the stomping piano thrown in at the breakdown—this is one of the final tracks to feature their late drummer, Charle Watts.

Live by the Sword:

This is the final track to feature his drumming, leading off from the Charlie Watts thing. It is fitting, then, that this is also another uplifting track with a vibrant piano riff. However, this one is less disco and more what can only be described as a nod to the late Elvis Presley with Elton John(second and final track.) providing the aforementioned vibrant piano riff. Although not lyrically strong, it is surpassed by Mick’s vocal skills and Elton’s dazzling piano playing. Don Was from Was(Not Was) is on production. Ex-bassist Bill Wyman also makes a cameo.

Driving Me too Hard:

It’s a quintessential Stones track with recycled riffs. One for the purists rather than the casuals who might find this “safe” and just a filler.

Tell Me Straight:

It was the first track to have guitarist Keith Richards take over vocal duties. His vocals suit this melancholic ballad. Surprisingly, you want this one to last longer because there appears to be beauty in listening to this. I like melancholic songs, which the Smiths and Noel Gallagher have mastered, so I’ll let you cast your aspersions here.

Sweet Sounds of Heaven:

A sublime track. With Lady Gaga singing and the great Stevie Wonder working his magic on the keys, it doesn’t feel like the Rolling Bones(Deliberate.)are on this in any way, shape or form. It’s quite surreal seeing the band cede control of their track. It is the longest, weighing in at over seven minutes. Although Lady Gaga soars with her vocal performance, what happens when Mick returns to duet is beyond words. This gospel-inspired song is just exquisite. My favourite by far.

Rolling Stone Blues:

We end the album with the cover ‘Rolling Stone Blues’ by the legendary and late Muddy Waters. This is the first time the band have recorded the cover, despite it inspiring their name. It is a comedown after celestial ‘Sweet Sounds of Heaven’, but it doesn’t feel inferior in the slightest. 

Song recommendations: ‘Sweet Sounds of Heaven’, ‘Angry’, ‘Mess it up’

Week 39: Ed Sheeran- Autumn Variations

~ honestopinions19 ~ Leave a comment

What is this? His seventh album to get to number one? He’s only three behind Noel Gallagher in that respect. This time, Ed returns with a folky and reflective record that is quite apt this time of year, given the season we are about to enter. The title even reflects that by being called “Autumn Variations”. I couldn’t care less if this is Ed returning to what he knows best; it works for him.

The opener is called ‘Magical’, the title is apt, and the lyrical content, which you will notice throughout, is autobiographical and thought-provoking. Most of the album has this as a constant with some slight, excuse the pun, variations. The subjects include his birth, patriotism, pub talk, et cetera.

The album’s second half gets more adventurous, with Ed being more creative and deviating slightly from the folky first half. ‘ When Will I be Alright’ is a prime example where Ed shows his vulnerability and melancholy and adds a violin to match that emotion. ‘the Day I Was Born’ was also another favourite of mine. Wonderfully autobiographical. 

If you like Ed at its simplest, baring his soul on the acoustic, this album is for you. I loved it and the reflective nature. Quite a few people I have spoken to about it do not like “Autumn Variations” and called it “boring”. I’m afraid I have to disagree with them.

Song recommendations: ‘ When Will I be Alright’, ‘the Day I Was Born’, ‘Magical’

8/10 

Week 29: Blur- the Ballad of Darren

~ honestopinions19 ~ Leave a comment

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’

9/10