Noel Gallagher’s High Flying Birds

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 15: Elton John and Brandi Carlile- Who Believes in Angels?

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Several years ago, Elton and Brandi’s professional relationship blossomed into a deep friendship. Elton, never one to hold back his admiration, often praised Brandi’s unique songwriting, her raw vocal delivery, and her ability to tell stories through her music. What truly drew him to her was the reflection of his own passion in her work, a musician who sang every note with the same fervor as he did.

As for Brandi, she has cited Elton as having a profound influence on her. She likes how Elton is flamboyant onstage, dedicated to his craft, and outspoken when asked his opinion on tricky political subjects.

As I mentioned, this is more than just a friendship between musicians; Elton has often spoken about her during interviews, showering her with praise for her exceptional talent. Elton’s admiration for Brandi’s artistry is truly inspiring. He has also championed Brandi by inviting her to perform at charity events. Thanks to his mentorship, Brandi has flourished in her career as one of the leading artists of modern Americana.

When these two worlds collide, as you are about to discover, they blend their styles, creating a powerful and deeply moving sound and combining his iconic vocals with her soulful harmonies. Something that has been witnessed when they have performed live together. Now, let’s get on with the review of this brilliant collaboration album:

Disc One/Side A

The Rose of Laura Nyro:

What a great way to kick off this record. The slow build-up reflects my listening experience. I had only just started to listen, so I needed time to settle in, and this track allows you to do that. Then, as the verse enters, the bass drum and electric guitar lock into a powerful synchronisation, driving the music forward.

Little Richard’s Bible:

A fitting tribute to the late vocalist because it matches the energy he used to perform with. There is also an easy rhymic section for the listener, who might not have good rhythm. However, I cannot see them falling out of time with the tambourine. Little Richard tracks are laden with fast piano riffs, and this track is no exception. Elton playing equisitely.

Swing for the Fences:

From Elton’s rock n roll fast tempo playing to Brandi’s vocals. Elton harmonising adds to her vocals. The song addresses how people should be who they want to be without holding back—an upbeat track with motivating lyrics and a chorus that sticks in your head.

Never too Late:

As the album’s first half nears the end, the tempo drops off, but Elton still manages to show why he is considered one of the best piano players in the world, with Brandi complimenting his vocals.

You Without Me:

It’s clear that this record, much like a vinyl, was crafted with a soulful touch. Brandi’s solo performance in this slow-paced, easy-listening track delves into the emotional complexities of being a parent and a music artist. She poignantly shares her struggle of being away from her children as they grow up. Her delicate strumming not only complements the message but also evokes a sense of empathy in the audience.

Disc Two/Side B

Who Believes in Angels?

Another slow burner to ease the listener. A sublime duet about the friendship between Elton and Brandi, but is done in a way that could apply to the listener’s friendships—Brandi’s vocals and lyricism link up well with the keyboard.

The River Man:

Yes, you’ve heard of a High Flying Birds track with the same title, but this one has its own unique musical journey. The song starts with a gentle guitar and backing vocals, gradually building into a jazz-infused masterpiece. The only other similarity with the High Flying Birds track is the jazz section, but each song has its own distinct charm. What truly stands out is the powerful chorus, where Brandi and Elton’s vocals blend in perfect harmony, a testament to their musical chemistry.

A Little Light:

Just as the record on disc two/side B begins to soar, the tempo dips, but with great lyricism with the message of keep on keeping on during the hard times.

Someone to Belong To:

The penultimate track matches the same tempo as the previous track, and once again with great lyricism. For me, it acts as the continuation of ‘A Little Light.’

When This Old World is Done with Me:

A beautifully melancholic way to end the album. This track, is a reflective piece on mortality. Elton, alone with his thoughts, sings about accepting his inevitable fate, his words resonating over the contemplative piano, inviting the listener to ponder their own mortality.

Overall:

I have been a keen listener of Brandi since her debut on Later…with Jools Holland in the 2000s. After seeing documentaries about her, her band, and her family, I also find her a very warm and cool person. My only complaint is that the record’s second half doesn’t pick up that much in tempo. However, this studio collaboration has been a long time coming, but it delivers in every way. Another example of two great artists coming together in the studio to create magic that formulates into something truly special. It was worth the wait.

Song recommendations: ’The Rose of Laura Nyro’, ’Swing for the Fences’, ‘When This Old World is Done with Me’

8/10

Week 45: The Cure- Songs of a Lost World

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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 36: Oasis- Definitely Maybe 30th Anniversary Reissue

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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 36: Olivia Rodrigo- GUTS

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I fucking loved Olivia’s debut, “Sour”(Or is it “SOUR”?). She is different from your usual music star in the charts. She has plenty of fucking attitude and is unapologetic about it. Her debut was outstanding, and that punk spirit and it was definitely refreshing to see the singles chart shaken up by this angry lady. 

She certainly isn’t your usual Disney Kidz star. She doesn’t give a fuck what you think about her. She swears profusely, has a punk spirit, and loves to rock out. “GUTS”, the follow-up to “SOUR”, makes that album look tame. Olivia cranked the amps up to 10, and her attitude and opinions. Like every record, there is a lull and softer moments, but she does go tonto for most of the album. She isn’t here to please her label boss but to tell you her life with no holds barred. She doesn’t give a fuck about being commercially viable. This record is indie to how a label wants their musicians to be.

Olivia grew up listening to her parent’s music collection, which consisted of grunge and rock, and she has incorporated that into this album, but with subjects of dealing with fame, relationships, and other teenage angst topics. I fucking love the opener ‘All-American Bitch’. You hear an acoustic being plucked at the intro and verses before it fucking explodes in the chorus as well as her vocal volume and attitude. The electric guitars add to that effect. I also loved the solo.

‘Ballad of a Homeschooled Girl’, which resembled ke$ha-like songs. You have softly spoken verses; occasional rapping with big choruses is another highlight. As mentioned, there are quieter, more reflective moments, but do not lack the angst featured on the full-in rock tracks. She even shows insecurity about her appearance on ‘Lacy’, an acoustic track, and confesses about being envious of what others see as “Perfection”. The soaring vocals bring that out. As gloomy as it is, ‘Making the Bed’ reminded me of that dream pop sound that we associate with Katy Perry in the late noughties and early tens. Like ‘All-American Bitch’, ‘Vampires’ starts softly with a piano rather than an acoustic guitar before synths and guitars hit you by surprise.

I was slated for rating “SOUR”, but fuck you. This girl is so versatile in her writing. She writes full-on rock tracks to tender piano ballads, and the vocal delivery convinces you every song means everything to her. Her lyrics, at times, also add an element of sarcasm and comedy.

This record is like a person with schizophrenia. One minute, it is full-on, then tame, and then full-on again, repeating a spontaneous tempo. In musical terms, it’s like having iTunes, iMusic, Tidal, Spotify and Deezer on shuffle. You never know what’s coming. Despite that, every record should have heavy and reflective moments. It shows the songwriter’s versatility as well as showing they are human.

Besides the Reytons, the Lathums, Frank Turner, Noel Gallagher’s High Flying Birds and Foo Fighters, the album chart lacks records that spark energy into your ears. Olivia has come along and made the album of the year that deserves to be nominated for the Mercury Prize next year. I wonder if this album will be number one next week. The album chart hasn’t had a mainstay this year yet, and the way music is these days, I don’t expect “GUTS” to break that but fuck me. It is a fantastic yet schizophrenic album. Olivia is a different breed to the new age pop star, which is a breath of fresh air. Another fucking monumental record. We need more musicians like this in the singles chart instead of nodding puppets for the label bosses.

Song recommendations: ‘All-American Bitch’, ‘Making the Bed’, ‘Ballad of a Homeschooled Girl’

9/10

Week 24: Tom Grennan- What ifs and Maybes

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Well, as you will recall, I had the pleasure of reviewing Tom’s previous album, “Evering Road”, which I enjoyed for his maturity and ability to show humility for all the things he had done wrong in past relationships. This time, he is back with “What ifs and Maybes”, which was tactically delayed to avoid a battle with Foo Fighters, and Noel Gallagher’s High Flying Birds—then postponed another week to avoid a fight with Niall Horan. This week, despite the competition, it was easier for Tom to take the top spot with his 80s-inspired album that echoes that of Abel Tesfaye, Coldplay, and Ellie Goulding of late.

The record opens with ‘How Does it Feel’, one of the teasers. It is an uplifting 80s synth-pop track that makes you want to dance. The second track, ‘Remind Me,’ is quite peculiar. I believe it’s a song about Tom’s forgetting lyrics when performing. Has this happened at all during performances? Tom fans, let me know. Also, what is apologising for? Something has happened in his life? Or forgetting lyrics during a performance? Going by “Evering Road”, I’d say the former.

My only complaint with the record, including on the Apple Music Edition, is that most tracks need to be longer. You get going with the uplifting melody, cancelling the melancholic lyrics, and then the song ends. I am trying to remember any song being over five minutes. The longest is over four minutes.  Some might moan that melancholic lyrics over uplifting melodies don’t work, but it’s been done for centuries and is still being done. How anyone can take issue with it is a right miserable bastard who doesn’t understand that art is abstract. ‘Crown Your Love’ is one of the slower ballads where Tom brings melancholy lyrics with an optimistic delivery, and why not? Not every ballad has to have a vocal delivery that matches the nature of the lyrics. It is pretty refreshing. He also adopts this on ‘Here’. It was nice to hear Tom move on from “Evering Road” with a more uptempo album. I like his take on 80s synth-pop mixed with slow ballads and, of course, conscious lyrics.

If you listened to the Apple Music Edition, as I did, you will like the club banger ‘Lionheart(Fearless) featuring Joel Corry. I have heard it in a FIFA game or something. Anyway, it is uplifting club music. I gave the album 7/10 for the tracks being too short and that some sounded like they were put on the record to add more tracks. Some even sound like B-sides.

Song recommendations: ‘How Does it Feel’, ‘Lionheart(Fearless)’, ‘Crown Your Love’

7/10

Week 22: Foo Fighters- But Here We Are

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Was it ever in doubt that the Foos would be number one? Despite being locked in a week-long battle with Noel Gallagher’s High Flying Birds, no one save for the Beatles was stopping them from getting to the summit. They had the intrigue of what they would sound like post-Taylor Hawkins and if the new drummer Josh Freese was good enough to take over from the late drummer. The last time Dave Grohl suffered a band member loss was in 1994 when Nirvana’s Kurt Cobain died, and he hit the studio to record what would become the debut album of Foo Fighters. He called it Foo Fighters, so no one would watch wind of who was behind the then-solo project. Although Dave was hurting from the loss of Kurt, the sound in 1995 was more a celebration of life over hardcore rock.

This time, however, the loss of Taylor is etched all over the album, also released over a year after his bizarre demise. You can especially hear this in ‘Under You’, where Dave reminisces about the good old days with someone no longer with us in some form. It is obvious what the song is about, but Dave leaves it open to interpretation through his words. It sounds more like a couple splitting up than the obvious. ‘Rescued’ also expresses how Dave felt at the recording. Of course, the record is littered with songs ready to be blasted in stadiums and belted out by the crowd. That’s what the Foos are good at. ‘Somehow’ features his daughter Violet and is a beautiful ballad and one of the slow moments on the album. ‘Teach Me’ is a track that lasts just over ten minutes, which fools you because there is a sustained silence before the track returns. That track itself trickles along rather than catches your imagination. Of course, another great track closes the records in ‘Rest’, which again is about Taylor, except this time, it is far more apparent as Dave says the drummer can rest in the chorus. The song builds from acoustic to the entire band wading in to end the music how they would complete a show with Taylor going tonto on the drums.

Song recommendations: ‘Rest’, ‘Under You’, ‘Somehow’

7/10

Week 12: U2- Songs of Surrender

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I must confess that I was fucking terrified of how to approach this review. I wondered if it would be a written paragraph review, track-by-track, or short track-by-track. I mean, U2 are the most fucking iconic band ever, and I wanted to do them justice with a review of this. 

The band started in Dublin during the mid-70s when Larry Mullen Jr requested band members wanted on the school notice board. He would get five responses, which included Bono, the Edge, Edge’s brother, and Adam Clayton. Before the lads settled on U2, Larry thought he would be in charge of the band until it appeared 10 minutes into the formation that Paul Hewson, aka Bono, had other ideas. Dik Evans (Edge’s brother, who has gone on to have a successful music career) would be phased out a year after the formation of Feedback, then the Hype. Ivan McCormick lasted a mere two weeks before being dropped. He would go on to become a composer.

Since then, the rest of history. The band has several iconic albums packed with political issues, bombastic choruses, and stadium anthems. The band was very punky, to begin with, before working with Brain Eno, which proved highly challenging for the band, who fell out on several occasions with Brian during recording sessions. In a documentary, the band admitted that they hated those sessions because he wanted to bring his production watermark to the album. Bono would constantly push back. However, “the Joshua Tree”, which the band confessed, until they did the anniversary in 2017 and 2019, supported by the likes of Noel Gallagher’s High Flying Birds, they were not particularly fond of, but now have found some love for it. Many people are fond of “the Joshua Tree”, where the hits and stadium anthems started to roll in. There is no doubt that Brian’s second time working with the band changed their sound forever and made them more versatile from that moment on.

The band have been together for over four decades, and despite the squabbling during the recording sessions for “the Joshua Tree”, they haven’t got close to breaking up since. How did it get to this? Well, last year, Bono released a book called ‘Surrender’, an autobiography ranging from anecdotes about his time in U2 to meeting the Pope with bonus content in the audiobook. Bono would do acoustic versions of their iconic hits when he did a reading tour., which brought the “Songs of Surrender” to life.

From there, the band had this concept of doing stripped-back versions of all their hits (That’s a staggering 40.)over four discs titled after each member. The Album is over three hours of listening time in total. Anyway, I have opted for a brief track-by-track review, so here goes:

Disc 1: the Edge

One: 

Piano ballad, a gentle cymbal at the end of the chorus, soft vocals throughout, and the last chorus builds up with ghostly backing vocals and marching drums on the outro.

Where the Streets Have No Name: 

Cello intro, haunting synth verse, the piano joins on the chorus, synth rings out on outro.

Stories for Boys: 

Piano intro leading into verse, backing vocals on the verse, piano break, vocals over piano riff on the chorus, short piano riff outro.

11 O Clock Tick-Tock: 

Drums and acoustic intro, acoustic plucking and piano in verse 1, bass riff and Bono falsetto in chorus, harmonic vocal break, backing harmonies with piano in verse 2, acoustic solo joined by plucked acoustic, gentle electric guitar on outro

Out of Control: 

Acoustic solo intro, pulsating acoustic on the verse, reverb vocals over rhythmic acoustic on chorus 1, backing vocals on chorus 2, rhythmic acoustic on the bridge, acoustic solo break, bass on chorus 3, acoustic rings out on outro.

Beautiful Day: 

Piano ballad with pulsating acoustic with scratching and backing vocals, pulsating piano in chorus, harmonic vocals leading into verse 3, choral bridge, pulsating drums in chorus 2, and choral outro.

Bad: 

Acoustic intro over tambourine leading into verse, piano and strings join on verse 2, marching drums with an acoustic riff on the chorus, marching drums build before the harmonic outro.

Every Breaking Wave: 

Haunting piano riff intro is repeated in verses, with backing vocals on the bridge, light strings in chorus 1, reverb vocals in verse 2, synth joins in chorus 2, piano break, and piano riff outro with sustained high vocals.

Walk on (Ukraine): 

Plucked acoustic intro, backing vocals and bass join verse 2 with plucked acoustic, rhythmic acoustic on chorus 1, piano on chorus 2 with a light cymbal crash, pulsating piano on outro with riff.

Pride (in the Name of Love): 

Rhythmic acoustic with bass intro, backing vocals on the chorus, piano with an acoustic riff on break, electric guitar solo break with full band outro before fade out.

Disc 2: Larry

Who’s Gonna Ride Your Wild Horses: 

Pulsating acoustic, cello and piano in verses, a rhythmic acoustic riff in the chorus,  bass joins from verse 2, backing vocals from Edge in chorus 2, and synth rings out on the outro.

Get Out of Your Own Way: 

Drums, acoustic and backing vocals on the intro, bass joins in the verse, harmonic backing vocals with an acoustic riff on the chorus, and instrumental outro.

Stuck in a Moment You Can’t Get Out of: 

Acoustic intro leads into verse, backing vocals from Edge, bass joins on the chorus, bongos on verse 2, piano joins on the outro, and acoustic rings out.

Red Hill Mining Town:

Haunting synth and acoustic on intro leading into verse with drums, bass and Trombone Shorty, chorus 2 with harmonic backing vocals, sustained trombone on the outro.

Ordinary Love:

Acoustic riff intro leading into verse, synth, bass and backing vocals on the chorus, acoustic riff break between verses, acoustic rings out on outro.

Sometimes You Can’t Make it on Your Own:

Piano intro leading intro verse, falsetto backing vocals on bridge, electric guitar riff, marching drums, tubular bells on verse 4 and final chorus, piano and bass drum outro.

Invisible:

Acoustic riff, piano, bass and drums intro leading into verse, the song builds on the chorus with backing vocals leading into the instrumental break, full band outro before Bono and backing vocals acapella.

Dirty Day:

Cello intro leads into verse, Bono whispered vocals in verse, the electric guitar riff in chorus, the violin joins in verse 2, Bono’s vocals slightly louder in verse 3, backing vocals in chorus 3, sustained violin, Bono’s sustained vocals, and acoustic rings out on outro.

the Miracle (of Joey Ramone):

Acoustic lead and full band intro leading into verse, backing vocals on chorus, piano, acoustic and Bono harmonies on break, backing harmonies on verse 2, short acoustic break, harmonic vocals with an acoustic outro.

City of Blinding Lights:

Piano and bass intro, piano and Bono on verse 1, backing vocals on bridge, backing vocals and acoustic on chorus 1, electric guitar joins on chorus 2, haunting harmonic vocals break, piano rings out on outro.

Disc 3: Adam

Vertigo:

Violin and rhythmic acoustic intro, rhythmic acoustic verse, violin and acoustic on chorus and post-chorus, violin and acoustic break, cello outro.

I Still Haven’t Found What I’m Looking For: 

Acoustic riff and tambourine intro lead into verse, Bono with mid-volume vocals, Edge backing vocals, and bass join on verse 2, electric guitar on break, piano and full drums join on verse 3, ghostly outro.

Electrical Storm:

Piano and electric guitar intro, piano in verse 1, rhythmic acoustic joins in verse 3, reverb vocals on the chorus, verse 4 same as verse 1, full band in verse 6, tambourine joins on the final chorus, light cymbal crash to end.

the Fly:

Bongos, full drums, bass and electric guitar on intro leading into verse, haunting backing vocals on the chorus, piano post-chorus, backbeat break before the verse, piano break, reverb falsetto vocals followed by an acoustic solo, then reverb vocal outro.

if God Will Send His Angels:

Piano intro, whispered vocals over the piano in verse, chorus with backing falsetto vocals before piano rings out, piano solo post-chorus, falsetto vocals to end verse 2, distant reverb vocals post-chorus 2, piano outro.

Desire:

Electric guitar intro, falsetto vocals, handclaps and keyboard reverb effect on the verse, fiddle solo on bridge, yoddling with backing vocals on bridge 2, keyboard reverb effect outro.

Until the End of the World:

Rhythmic acoustic intro, piano and acoustic on the verse, backing vocals on the chorus, acoustic break, acoustic solo after chorus 2, falsetto vocals on verse 3, light harmonic vocals with backing harmonic vocals outro.

Song for Someone:

Pulsating acoustic with piano intro leading into verse, backing vocals join on the bridge, piano solo with vocals on the chorus, piano solo with acoustic and bass, acoustic rings out on outro.

All I Want is You:

Panpipe effect with bass and drum intro leading into verse, acoustic lead on the chorus, rhythmic acoustic break with the full band, bongos and falsetto vocals on final chorus, bass and bongos outro.

Peace on Earth:

Acoustic intro, empty church ambience vocals, the choir joins acoustic on chorus, full band joins choir and acoustic on chorus 2.

Disc 4: Bono

With or Without You:

Acoustic bass and synth intro leading into verse, building post-chorus, vocals build on the bridge, full band on the final chorus, electric guitar solo with brief Bono harmonic vocal outro.

Stay(Faraway, So Close!):

Backing vocals over piano intro leading into verse, electric guitar and full band on verse 2, falsetto with falsetto backing vocals on chorus, piano and Bono vocals on verse 3, verse 4 as verse 2, brief instrumental break before the chorus, harmonic vocals with backing harmonic vocals break partially spoken word on outro with electric guitar ringing out.

Sunday Bloody Sunday:

Acoustic riff with harmonic vocals, rhythmic acoustic on the verse, Edge backing vocals on chorus with change in rhythm, acoustic break, bass joins on chorus 2, acoustic solo, three-string pluck outro.

Light of Home:

Acoustic riff with synth intro, backing vocals in verse, full band in the chorus, ghostly vocals in post-chorus, full band in verse 2, backing vocals on bridge, acoustic solo, sustained vocals before a change in tempo with backing vocals outro.

Cedarwood Road:

Rhythmic acoustic intro leading into verse, change of acoustic tempo with backing vocals on the chorus, reverb vocal effect on verse 2, change of rhythm with the full band on verse 3, reverb effect outro.

I Will Follow:

Acoustic riff with strings intro, piano and bass join on the verse, acoustic riff break, full band on verse 2, backing vocals on the chorus, brief acoustic solo, sudden stop to end.

Two Hearts Beat as One:

Piano, bass, beatboxing, funky intro. Pulsating drums with the full band on the verse, backing vocals on the bridge, funky break with electric guitar, and piano break before the outro.

Miracle Drug:

Drum intro leading into verse, the piano joins on the verse, backing vocals on the chorus, acoustic rings out, acoustic with Bono on verse 2, full band on verse 3, brief acoustic break before the bridge, brief silence before the final chorus, rhythmic drum outro.

the Little Things that Give You Away:

Acoustic and bass intro, keyboards join on the verse, full band on verse 2, acoustic break before verse 3, backing vocals with reverb on chorus 2, acoustic, keyboards and bass on verse 4, the song builds on the bridge before the brief acoustic solo break, acoustic rings out on outro.

40:

Haunting piano with electric guitar intro leading into verse, bass joins on the verse, backing vocals on the chorus, piano break.

Even if you are not a fan of U2, you will be after hearing this. Upon listening, you will soon realise every track has a unique originality to its original version. It is a monumental effort to reimagine songs; looking at what I’ve written, you might consider it tedious, but far from it.

Song recommendations: ‘Two Hearts Beat as One’, ‘Beautiful Day’, ‘Vertigo’

9/10

Week 37: Robbie Williams- XXV

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 have no idea where I first heard Robbie Williams. Take That appeared out of nowhere in the 90s and became extremely popular without a steady rise. I don’t mind some of Robbie’s work since he decided to go solo in 1997, which started with the indie-inspired ‘Old Before I Die’. I love that song, but Robbie isn’t too keen on it when you read his 2016 autobiography “Reveal”. He appears to hate it with a passion. I used to love hearing it on the radio, on television or on the jukebox at the local Riley’s snooker club. It epitomised the whole indie revival movement during that period. I am surprised by his submission because after being discarded by the Gallagher brothers, he said in his book, it didn’t deter him from liking Oasis, and he enjoys a lot of indie music. I don’t fucking care if some of you are smirking at me reading his book, it was an intriguing read, and you get to know the honest Robbie and not the one slaughtered by the media. So, my initial plan was to listen to the new tracks on “XXV”, but he had other ideas. Yes, it is his greatest hits, but not in their original guise. The songs have been reimagined with Jules Buckley conducting an orchestra, and there is even a Beethoven version of ‘Angels’. That’s the introduction over; now to the review. I have elected to analyse each classic and new song track-by-track.

Let’s begin:

Let Me Entertain You:

No one can forget this beast of an anthem with its rock attitude. When this was recorded, the La’s and Lightning Seeds drummer Chris Sharrock was drumming for Robbie. Of course, Chris would go on to join Robbie’s friends Oasis, Beady Eye, and his least favourite Gallagher brother Noel Gallagher’s High Flying Birds. The song carries on in the same vein, but the horns and choir bring that celestial finish to it. Already I am impressed.

Come Undone:

A friend had this on a Now That’s What I Call Music compilation in 2003, and I was reading the footnotes. Tupac Shakur inspires this song. I was shocked to hear this because I don’t hear any references to Pac in the song. On a side note, Robbie and Pac met in 1995 at the Versace birthday party. They both shared a joint, and they got on almost immediately. Pac didn’t know about Robbie’s portrayal by the media and didn’t seem to care either. They shot the shit about life and, for a brief moment, became friends. Has the song improved much since the original? Only slightly. Not much to write about.

Love my Life:

In the book, Robbie said he wrote this for Theodora(his daughter.) to tell her never to forget to love your life despite what others might say about you. Again, the orchestra lift this song to another level; to be honest; it is fit for the West End when they do a musical on Robbie.

Millenium:

There was no point in tweaking this track. It doesn’t enhance it, as the original already has a stringed section. I believe it was pilfered from a James Bond theme song. He was better off not bothering to rework this one.

the Road to Mandalay:

Again, a pointless rework. The original is better.

Tripping:

For the third time in succession, the track didn’t need necessary work. I am sure this one catches your attention by starting off with a reggae vibe before returning to the familiarity. You feel cheated when the reggae falls away after the introduction. I’d have preferred a reggae vibe on the rework, in all honesty. I cannot recall a single track where Robbie has done reggae.

Bodies:

I’ve never been a fan of it, and the rework didn’t do much for me.

Candy:

Jesus. This song made me cringe when it came out, and still makes me cringe now. Robbie is better than bubblegum pop.

Supreme:

Again, I believe another song pilfered from a James Bond film. I didn’t feel a rework was necessary. I mean, what could Jules have possibly done to improve it? The original has an orchestra. There are, however, female backing vocals. Still didn’t do much to improve, though.

Strong:

Again, Robbie puts on his indie head in the original, and to be honest, there is not much difference between the XXV version and the original. It’s a photo finish which is better. 

Eternity:

Just like ‘Strong’, there isn’t much difference in both versions.

No Regrets:

My favourite track off “I’ve Been Expecting You”, and it has to be the original that will remain my favourite. He tries to make this more upbeat when the original is melancholic, which fits with the concept.

She’s the One:

I love this cover of World Party’s track, even though the original is much better. It was a nice nod to World Party, but Karl Wallinger has said on many occasions he now hates performing the song and that Robbie ruined it for him. In the book, Robbie mentions how through a third party, Karl said, “When you see him, tell him he’s a cunt”. If Karl hated the original cover, he isn’t going to be too fond of the XXV version, either. However, I believe the majority will agree with him this time.

Feel:

I was not too fond of it then, didn’t like it when Peter Schmeichel played on it live, and I still don’t like it now.

Rock DJ:

When this came out in the summer of 2000, I liked it. Then, it was played to death, so I stopped listening to it, and as I got older, I could not stand it. Even listening to the rework was too much.

Kids:

I loved this when it came out in the autumn of 2000, with its rock attitude and the collaboration with Kylie Minogue. Kylie features in the rework. Again, a photo finish of which one is best.

Angels:

The original pisses all over this. Do look out for a surprise later on, though.

Lost:

Now, we have come to a brand new track. It was made for this album. Yes, I know it was actually made for this record, but what I mean is it’s a perfect fit. The orchestra musicians compliment each other.

Nobody Someday:

An acoustic guitar accompanies Robbie’s vocals, accompanied by a soft choir. A vast improvement on the original.

Lazy Days:

The original itself was lazy instrumentally and vocally. The rework brings it to life—the orchestra playing a pivotal role.

Hot Fudge:

I never liked it and still don’t.

Sexed up:

Again, I wouldn’t say I liked the original, and my concentration wavered on this one.

More than This:

Another brand new song. Once again, it is a perfect fit, just like ‘Lost’.

Disco Symphony:

Another new track that does exactly what it says. I can see this one being played at parties and wedding receptions imminently. Very uptempo and very disco.

Better Man:

You’re better off listening to the original.

Home Thoughts from Abroad:

The Magic FM moment on the album. Although to be fair, the majority of the record will fit nicely on their playlists.

the World and Her Mother:

The final new track has the Robbie signature written all over it.

Into the Silence:

Again, another photo finish.

Angels (Beethoven AI):

This song is merged with Beethoven’s ‘Unfinished 10th Symphony’, and fuck me; it fits in perfectly. I never thought I would see the day when ‘Angels’ collaborates with ‘Unfinished 10th Symphony’. I was blown away when I heard it, and it fucking destroys the original. That was a very clever move by Robbie. This version is beyond space; it’s that good.

Song recommendations: ‘Angels(Beethoven AI)’, ‘Nobody Someday’, ‘Disco Symphony’

7/10

Why such an average rating, you ask? Well, because I prefer the originals.

Week 24: George Ezra- Gold Rush Kid

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I first got into George when I was having my haircut in the summer of 2012 and heard his hit song ‘Budapest’. When I finally saw his live performance at one of the summer festivals in the same year, he reminded me of the grime MC, Devlin, but that’s few and far between regarding the review.

“Gold Rush Kid” is George’s third studio album. It is similar to his other two records. George has the knack of making his listeners feel upbeat and enjoy his albums, even if the songs are pretty melancholic lyrically.

Now, let’s get on with the review. The opener is called ‘Anyone for You(Tiger Lilly)’. Many have found this track their favourite, but not mine, even though it is the most upbeat track he has ever made. 

The piano melody reminded me of Vampire Weekend’s ‘Harmony Hall’. It was pretty much identical. The lyrics and the overall sound, though, are entirely different.

I’d like to know what his album teaser ‘Green Green Grass’ was inspired by. There has been an Only Fools and Horses spin-off by the same title, and Tom Jones also covered a song with the same title. I thought, “Hmmm. Is this a cover? or something else?”. It turned out to be the latter, but when I heard the vocal melody to the chorus, I couldn’t help but think that George had been listening to Noel Gallagher’s High Flying Birds play this or the original by Manfred Mann. The song I am referring to is ‘the Mighty Quinn’. Seriously, listen carefully. The vocal melody in the chorus mimics the song mentioned above.

The third track is the title track. I loved this song. It is exceptionally upbeat and has a simple melody to learn on any instrument. The chorus is infectious, and I will highlight some lyrics from the track that I found to stand out: “I have been playing rock, paper, scissors in the mirror, and there hasn’t been a winner for nine days straight”.

Of course, there are also moments of reflection that George is known for and his uptempo songs. George returns to his friend the acoustic guitar for ‘I Went Hunting’ and ‘In the Morning’. ‘I Went Hunting’ highlights the mental health issue with which George recently came out and said he struggles. George has a repeating lyric in the song, which is quite apt given that mental health sufferers tend to overthink things several times based on the anxiety and fear they are experiencing.

Another great song featured on “Gold Rush Kid” is ‘Sweetest Human Being Alive’, where George addresses the lady who will become “the one”. This song has to be one of his finest to date and is an incredibly profound love song. The lyrics are sublime.

Song recommendations: ‘Gold Rush Kid’, ‘Sweetest Human Being Alive’, ‘I Went Hunting’

7/10