Oasis

Week 25: Noel Gallagher’s High Flying Birds- Back the Way We Came…2011-2021 Volume 1

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The best thing about doing this track-by-track review of Noel Gallagher’s High Flying Birds’ fourth consecutive No. 1 album is to recycle bits of the old reviews I have done on High Flying Birds’ previous records. Of course, my views on ‘We’re on Our Way Now’, ‘Black Star Dancing’, ‘A Dream is All I Need to Get by, ‘This is the Place’, ‘Blue Moon Rising’ and ‘Flying on the Ground’ will be my thoughts inspired by others and from Noel, himself. I found myself agreeing quite a lot with what Noel had to say on some of the aforementioned tracks, as you will find out along the way:

Everybody’s on the Run: 

Well, from the outset, you know the album will take you on a journey narrated by Noel Gallagher as different swathes of emotion wash over you. The introduction for ‘Everybody’s on the Run’ begins with a snare complete with the angelic singing of the Crouch End Festival Chorus and Wired Strings, with the guitars being played at a sweeping pace to add to the dramatic beginning. Before his vocals kick in, the song starts dropping to a nice, slow and steady pace. Noel delivers the music with a passionate yet desperate tone as he tells the listeners that this song is about holding onto love in the most testing times. The arrangement shows grandeur yet remains true throughout. The bridge reminds the listener that Noel is still very much in touch with rock n roll as it has this element, complete with the Wired Strings playing at an intense tempo. The acoustic guitars amazingly overtake the electric guitars and lead into the final chorus, where Noel delivers his message with pure emotion: a good way and a brilliant start to the album.

the Death of You and Me:

The biggest noticeable thing is that Noel uses trumpets( Actually, it’s him imitating trumpets. However, they are used live.), but it adds a grandiose sound to his credit. Many would be forgiven for thinking he wouldn’t use this method under Oasis as it is not very rock n roll. Well, you’re very much wrong about this song and the albums that followed. Noel remains true to rock n roll, and there are still elements of the Oasis wall of sound alive, and a bouncy tempo seems to put the acoustic guitars into mere significance on this track. It resembles more of a broader version of ‘She’s Electric. Unlike ‘She’s Electric’, this track is sung with mature vocals, bringing new charm and vulnerability, which shows Noel has changed his perspective on life now he is married with children ( No pun intended.), which adds to the track. The middle section is dreamy and catchy as Noel cleverly implants the harmonies of “La, La, La”, which is always a surefire winner as it is uplifting and infectious to the listener’s ear. The end section is dominated by the creeping brass, reminiscent of the jazz you hear from New Orleans as the song jauntily continues to flourish. As Noel added the infectious sing-a-long harmonies, the track would go down well when he took it out on the road, and rays of lights from phones and cigarette lighters get held aloft in unison when the introduction begins. Hopefully, we will see those moments again when High Flying Birds next go on tour.

AKA…What a Life!:

The song pays homage to Noel’s days at the Hacienda, enjoying the vibes as Acid House shook the building to the core. Noel uses a piano riff throughout, which is also a trait of a great house track that embeds itself in your memory bank and never leaves you. Noel has a matter-of-fact nature with an evil twist that’s switched onto the world air about him. As he heads into the chorus, he sings with a raised voice and at the top of his lungs, emphasising the word “life”, making it sound elongated to “liiiife”, which is the very last word of the chorus. An ear-piercing guitar solo finds its way in after the chorus, acting as a link before the verse. The guitar solo sends shivers down your spine. It’s not exactly something you would expect on a Dance-esque track. The song ends on a soft “woo-hoo” repeatedly as the music doesn’t end in a flurry, but rather a gentle come down as if you were back at the Hacienda as the last acid track is played and faded out to end proceedings.

if I Had a Gun…:

This was the biggest eagerly-awaited track from the debut album. There were guitar tutorials and even remixes since the track was leaked online during an Oasis soundcheck from their ill-fated final tour. The soundcheck may have sounded sketchy, and remember, the song was stripped back then, but now the song has lived up to expectations. Actually, no, it HAS exceeded the expectations it was burdened with. A piano and an acoustic guitar accompany Noel’s vocals as he sings in a fragile yet moody and restless tone, “If I had a gun/I’d shoot a hole into the sun/And love would burn this city down for me (or you. Depending on where you are in the song.).” A song that sounds in the same vein as ‘Wonderwall’ is complete with a slightly different chord change and melody. Haunting backing vocals add to the whole structure of the song. Electric guitars also lead us into the first chorus, where he delivers the line “Scuse me if I spoke too soon( Again, depending on where you are in the song.)/ My eyes have always/ Followed you around the room/ Cause you’re the only/ God that I will ever need/ I’m holding on/ and waiting for the moment to find me” with pure conviction, which is apparent throughout. It is also an ode to his wife, Sara. The lyrics will undoubtedly ensure the song stands the test of time (It has so far.)and remains a timeless classic long after we have all departed. Even when the instruments start to catch up with Noel and surround his vocals, he maintains his delivery and doesn’t succumb to arrogance as the song goes on. That reason alone shows that Noel deserves all those accolades and his place in music history. It also shows his maturity as he maintains his delivery from start to finish. In that sense, it might be a departure from Oasis, but it still has the sound of Oasis but is more grown-up. This song will (and has proved to be.)a hit with people who didn’t even like Oasis; it appeals to everyone across the music spectrum. It has also proven to be a crowd favourite, with the crowd singing along.

in the Heat of the Moment:

Once again, the house piano riff is back but veers away entirely from a house track once it kicks in. The chorus is very punchy as Noel sings it from the top of his lungs.

Riverman:

The opening track from the 2015 album “Chasing Yesterday” involves a count-in before surprising the listener with a space jazz guitar riff. In Noel’s own words, the song was inspired by a night out with Morrissey when he heard Brian Protheroe’s ‘Pinball’ for the first time despite growing up when the song was out. Initially, The song would be something different until he heard ‘Pinball’, and this track is undoubtedly a nod to Brian.

Lock All the Doors:

It was a song that had yet to be completed to Noel’s liking since it was first written in 1992 and featured on an Oasis demo tape with the bootleg freely available online. Noel was never delighted with the introduction, verse, or bridge that surrounded the chorus, and like ‘Stop the Clocks’ and ‘(I Wanna Live in a Dream in My)Record Machine’, he has returned to it and turned into a song that he feels is now worthy of featuring on an album and be played live. The song sounds like typical Oasis choc-full of attitude, and the guitars turned up loud. The arrogance in the song is much more reminiscent of ‘My Big Mouth’ from the 1997 album “Be Here Now”. This was one of the few songs that Noel wanted Oasis to play after that tour. This is the closest Noel has got to the Oasis sound since he embarked on his solo journey. 

the Dying of the Light:

It’s in the same vein as a Smith’s song with its melancholic sounds despite the lyrics fusing melancholy and love. It was the ‘If I Had a Gun’ moment of “Chasing Yesterday” and, indeed, an ode to his wife. It is also a chill-out moment as the listener cools off after going mental to ‘Lock All the Doors’. Whereas that song is fast, this slows down drastically, with Noel playing the chords steadily.

Ballad of the Mighty I: 

The ‘AKA…What a Life!’ track of “Chasing Yesterday” in a sense, although it does have differences. The chorus is incredibly catchy. Something that Noel mastered during his time with Oasis. Noel sounds younger than his years on that album, especially on this track. Despite all the drugs, cigarettes, and alcohol, the time has been kind to him and still given him a voice (If not more robust.) that he can use today, unlike his younger brother, whose voice started to decline after 2003. Johnny Marr also perfectly features a guitar solo on this song, which completes the song. A further note on the chorus: you will find yourself humming or singing to it.

We’re on Our Way Now:

An exclusive made for the record at Noel’s brand new Lone Star Studio, King’s Cross, London. The track is produced alongside ex-High Flying Birds Jeremy Stacey’s twin, Paul ‘Strangeboy’ Stacey. Noel has stated the song is about leaving unsaid things when you don’t get to say goodbye to someone. The song has a breakdown section reminiscent of Andreas Johnson’s 2000 track hit ‘Glorious’. It’s a folk song but done in a Noel way, with its melancholic theme and an upbeat tempo as the track goes on. It also reminded me of ‘AKA…Broken Arrow’ off the 2011 self-titled debut album. I was surprised to hear Noel return to something similar to that record. I enjoyed the strings on this and the female harmonising by Jess, Charlotte, and YSÉE. I don’t care what anyone says; those ladies make the High Flying Birds richer in sound.

Black Star Dancing:

I have heard some extremely cutting reviews of this track, but I like disco funk and enjoyed it. I will also add that it is highly elementary to play on the guitar. Nile Rodgers happened to be at the same studio when High Flying Birds recorded this, and if Nile says it’s brilliant, it is fucking brilliant. The man is the king of disco funk. Noel said the title is inspired by the late David Bowie’s final album “Black Star”. He also said that he was watching Top of the Pops 2 on BBC 4 on a Friday night, and ‘Let’s Dance’ by David Bowie came on, which inspired him to write this. Noel also said he was humming the bassline on a trip to Tesco Metro of what would become this track that has angered many hardcore Oasis fans who can’t accept that High Flying Birds are making music that is far more than stadium rock. Once again, I loved the female members’ vocals and how they sounded like they were from the era when disco-funk was at its peak.

Holy Mountain:

So, just like what was featured on “Riverman” from the sophomore record, “Chasing Yesterday” from 2015 (Yes, I said, “Sophomore”. So fucking what? I’m writing this, not you.) We hear a horn section featuring. This was also the lead single to promote “Who Built the Moon?”. It’s a bit bubble gum pop but is exceptionally catchy. You will get the chorus stuck into your head.

A Dream is All I Need to Get by:

I remember hearing this when I acquired it for DJing, and I was taken aback by how different it was to ‘This is the Place’ the EP from where it is from. You can hear twinkling castanets accompanied by Noel’s acoustic guitar and haunting vocals; the song grows and gets grander as you enter the chorus. Of course, the track is inspired by the Smiths and particularly by Noel’s good friend Johnny Marr. The song is chilled out and dreamy. It also sounded great live when High Flying Birds recently performed at the Duke of York Theatre, London.

This is the Place:

The track name came when he looked at fellow Mancunian Tony Walsh’s poetry book ‘This is the Place’. Noel asked him if it was okay to use the title, and Paul felt honoured. The song is the leading track off the EP with the same title and the second part of the “Wait and Return” EP series. You can tell that Noel has followed on from his experience working with David Holmes by making music he likes to listen to and turning more experimental as he goes on the journey with High Flying Birds. Any songs like this wouldn’t have been welcomed in Oasis by a specific member and the narrow-minded fans who only expected a particular type of sound. This track is hugely psychedelic with spacey synths, bongos, piano, a guitar lick that gets in your head, superb female vocals (Especially by YSÉE.), and something that former Creation Records label mates Primal Scream would have put on an album in the early 1990s. You could say it was inspired by Noel’s nights at the Hacienda.

It’s a Beautiful World:

It’s incredible what effects you can use in the studio. Because of the way sound effects are used to make his voice sound muffled, complete with reverb (Is that the word I’m looking for?), I haven’t heard on the live version, in the warm-up concerts, or on Later…with Jools Holland in 2018. Nonetheless, it still worked live. This track could be described as both cosmic pop and psychedelic. You have a breakdown section before the solo where the touring member, Charlotte, speaks in French (Noel said it was too late to change the spoken word when Charlotte said she mentions the end of the world. Noel did not like that and would have preferred “It is not the end of the world” to tie in with the feel-good vibes of the record.) It is also worth noting she plays the scissors on this track (Yes, that’s correct. The scissors. Fucking mental!).

Blue Moon Rising:

No, it’s not a track about Manchester City. Yes, it does have ‘Blue Moon’ in the title (Obviously.). It is another disco track inspired by Noel’s viewing of Top of the Pops 2. His vocals accompany synths and relaxed guitars. The lyrics are not up to much, but Noel has a knack for taking your attention away from that with the production (Yes, sometimes Noel can write simplistic or minimal lyrics, but hold your attention with the music.). The track is relaxed and leaves the listener open to their interpretation of the meaning behind the lyrics during the verse. Still, in the chorus, Noel shows his outstanding vocal ability as he bellows it at the top of his lungs. You can see this live as the veins bulge out of his neck. His voice has got stronger as he gets older. The way he sings at the top of his voice has yet to cause noticeable damage.

Dead in the Water(Live Rté 2FM Studios, Dublin 2015):

Well, those who yearn for Oasis love this. This track was recorded off the cuff on-air at Rté 2FM Studios in 2015 during an interview and short performance during the “Chasing Yesterday” tour. Is it completely improvised? As Noel says at the end of the track, as the presenter asks him. Well, I don’t believe him. It was far too polished to have been made up there and then, especially when you hear the keyboard solo by Mike Rowe. There’s no way Mike could have done that without getting a feel for the track. This song talks about Noel looking to hold onto a love that seems hard to recover. Apart from the whole chorus, the standout line is where he talks about having no money while looking at a photograph. Now, who can this be about? Because he had plenty of money when he met Sara. Is this Noel reaching out to someone in the past? Was it written for Louise in his Oasis days, and has been given new life? Whoever it is about, it is compelling lyrically and reminds me of the sort of song by the Smiths that would have inspired him to write this. This is classic Noel, though. He is singing with a tint of melancholy in his voice and laying his soul bare.

Flying on the Ground:

Noel best described this and took the words out of my mouth when he said this track is a nod to Burt Bacharach with a Motown twist. Because it is. We know Noel has given nods to Burt in the past, but not yet with High Flying Birds until this exclusive track. A member of Noel’s team told him to put this out as he always plays it in the Sour Mash office. Thank God, whoever that person is, because I loved how Noel fused Motown and his love of the great songwriter Burt Bacharach. Again, the female members stand out, and it is refreshing to see Noel letting them showcase their vocals alongside him—a feel-good way to end this latest record by Noel Gallagher’s High Flying Birds.

Song Recommendations:  This was extremely tough as they are all strong tracks, but after much consideration, ‘A Dream is All I Need to Get by’, ‘Flying on the Ground’, ‘Dead in the Water’

9/10

Week 22: Olivia Rodrigo- SOUR

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Olivia Rodrigo caused a storm recently when one of her songs went to number one and outsold anything Oasis had released when they were at the peak of their powers. I was late to the party, but I could see that diehard Oasis fans were not happy about this and openly mocked the singer with “Who the fuck is she?”. They were my thoughts exactly, and I wondered whether she would be around as long as Oasis or remembered like them. I didn’t particularly like the track, and streaming probably generates more than physical sales these days. I mean, I will not buy a physical copy of an album unless I believe in the artist/band or have been following them for several years. I wasn’t particularly enamoured with her displacing the Modfather at the summit of the album chart. Still, as I review all the number one albums throughout the year, I was obligated to listen. I was impressed by the end, much to my surprise.

I believe the song that caused quite a stir and pissed off Oasis fans was called ‘Drivers License’. That song aside, “SOUR” is a full-on album with plenty of aggression and passion. Olivia talks about what it is like to be 17, broken-hearted, pissed off with society, and full of teenage angst. It’s not all that surprising when you discover that her idol happens to be none other than Taylor Swift. She even wishes her ex well on ‘Happier’ but also points out that she doesn’t want him to be happier with her successor. I would compare her angst and raw emotion with Alanis Morrissette’s “Jagged Little Pill” era. There are songs on the record akin to songs like “You Oughta Know” or “One Hand in My Pocket”.

Olivia doesn’t hold back and goes after an ex on ‘Traitor’ because he got over her far too quickly. Olivia felt that his love for her was fake, and he didn’t care that much to move on so rapidly. My favourite two tracks have to be ‘Brutal’ and ‘Good 4 U’. To quote Liam Gallagher, these tracks are “Rock out with your chin out”. The sheer driven tempo and heavy guitars and drums add to Oliva’s delivery’s raw emotion and anger. I must confess, I was expecting a generic Disney pop record, but this album is energised and full of attitude. Those two tracks alone are a testament to that. There is also plenty of colourful language.

From opening with the attitude of ‘Brutal,’ the album closes with a much calmer ‘Hope Ur OK’ and a heartfelt song showing another side of her. She isn’t all about angst, anger, and brutal honesty. Listening to the record shows that Olivia wants to be taken seriously as a songwriter. I mean, she even got involved in co-producing “SOUR”. I have no idea where she came from, but if she were part of the Disney Kids Club, she would want to distance herself from that now. What you hear on the album is just fucking amazing. There’s stuff on there that would make many songwriters hear with envy, knowing they didn’t have that much ability so young. She’s old and wise before her time, which reminds me of the great Tupac Shakur when he was a teenager. Intelligent and eyes open wide to the world. 

Olivia has a long future as an artist and a songwriter. However, it’ll be difficult to follow “SOUR” after this incredible debut effort where she combines every emotion under the sun. A marvellous and solid debut.

Song recommendations: ‘Brutal’, ‘Good 4 U’, ‘Hope Ur OK’

8/10

Week 15: the Snuts- W.L.

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This band from Scotland (West Lothian, to be precise)was first brought to my attention by several of my followers talking about them, but only since 2017, even though the band formed two years before that. The more I kept hearing about them and seeing them appear in regular new talent polls on Twitter, the more I got curious. I eventually gave them a listen and was highly impressed with their rock sound. 

Social media can be a potent tool in the music world these days. The Snuts were getting talked about ages before this debut album was in the offing. They were getting a reputation for their gigs and the demos they released. Bizarrely, thanks to that reputation, they were already playing out at significant festivals like TRNSMT, Reading and Leeds, and SXSW. They have also supported the Libertines, among others. Last year, they released their EP “the Matador”, which gained them a top 20 spot in the album charts—already encouraging signs from the Lads from Whitburn to fare well when the record finally did drop.

The producer used on “W.L.” has a good reputation working with the likes of the legendary Beck and the French band Phoenix( Do you remember ‘1901’? Well, you should because it was played to death at every student union bar or Indie night). 

Tony Hoffer travelled to the Firepit in London to work with the band and refurbished their back catalogue to give those songs a more professional finish. There’s no disputing they were not good before, but they could turn those songs into something else with Tony on board. Jack Cochrane’s vocals are wonderfully showcased over the acoustic ‘Top Deck’, which opens the album. The band’s versatility is displayed as we go from indie to blues to hip-hop. Not forgetting rock n roll and punk.

‘No Place I’d Rather Go’ is a track with a swift change in direction from an acoustic ballad; it then turns into an uptempo track that sounds like the Beatles if they had the chance to use modern equipment. Because it was my introduction to the band, my personal favourite is ‘All Your Friends’. I love the punk attitude and Jack’s venomous vocals, which sound like Alex Turner and John Power combined. Indeed, the track itself is something Arctic Monkeys and Cast would do. It’s also magnificent when performed live.

I was very impressed with Tony’s reworking of ‘Glasgow’; it sounds a lot beefier than the original while not overpowering Jack’s emotional vocals. Tony still respects the original by not going overboard on the production. Boardwalk’ was another highlight for me on the record because I loved the songwriting with the melody flourishing into all-out rock. Of course, the album’s standard edition closes with their now-iconic encore closer, ‘Sing for Your Supper’. Again, I love the energy in this song, and I always have, but maybe because I’ve heard it countless times, I have become immune to it and don’t get all that excited when I listen to it now. However, I like a good story in my songs, and this one is no exception.

Not only is this album full of several genres inspired by who the band members listen to, but it’s like an audio version of an autobiography depicting life growing up as working-class kids in West Lothian(Forgive me, my Scottish friends, but I don’t know whether West Lothian is working class. I have read bits and pieces, but it’s all somewhat blurred)and having hopes and dreams of making it big with their music. It’s a fucking brilliant debut album, and with their arsenal of songs already in their possession, the second record will hopefully live up to expectations.

 It is great to see that all this stuff about guitar music is dead(Including you, Mr Weller)is a load of bollocks. The Snuts have proved that it still kicks like a drum and that the working-class lads and ladettes can still find their way through. Indeed, I can give you many examples of that. Fontaines DC, the Lathums, Riviera, Citylightz, the Crooks, Tom Smith, and Rianne Downey. I predict they will do an Oasis and have as much success with their second album. Trust me, the working class is fighting back, not just through grime or drill, as Weller said. Kids with guitars, indie rock, and punk persuasion are banging the doors down.

Song recommendations: “All Your Friends”, “Boardwalk”, “Glasgow”

9/10

Week 11: Kings of Leon- When You See Yourself

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My first introduction to the band from America was in 2009 when “Sex on Fire” was heard in pretty much every nightlife establishment you went into. Indeed, my friends and I sang it at the top of our voices and even changed the words to go with an ex-Newcastle United footballer. I’m sure others sang it that way before us. The old “Yourrrr Temuri Ketsbaia”. Now, Kings of Leon are very much like Bush. Why? Because they are popular everywhere else except in their native land. Bush is from London, but their Grunge sound never stood a chance when Oasis and all the other Indie bands came along. Because people over here were not so much into listening to Soundgarden and Nirvana at that point, the same could be said of Kings of Leon. When they came along, America wasn’t interested in listening to a band whose sound was more attractive to the European market. Unlike the Killers, whose sound was very much inspired by Oasis and the Smiths when they first started to make inroads and gradually started to win over fans from their homeland, America never took to Kings of Leon, and as far as I know, that is still the case. I am in the minority regarding the band in Europe because I am not a fan. I liked “Sex on Fire”, but that’s it for me. 

I am going to quote my friend Tommy about Kings of Leon. I told him I listened to the new album and told him to listen because he would be surprised by some of the songs. He told me he would make a conscious effort to listen to it because the band are no longer kids anymore and is more mature. Now, I concur. When you listen to the lyrics, you can hear their maturity. They’re no longer singing about getting drunk and living that wild life.

The opening track is the title track, but the title is slightly different from the name of the record. It’s called “When You See Yourself, Are You Far Away.” immediately upon listening, the track got my attention because of the Jaws-like sound to it (Jaws the band, by the way.), you can also hear an electric guitar plucked throughout, which sits nicely rhythmically, and a xylophone, which I would never have associated with the band using. I then highlighted “100,000 People” to Tommy because it’s a slow plodder with a dreamy chorus that sounded Indie, and then a synthesiser that you would associate with the Killers, so you can imagine Brandon Flowers being all over it. Then, there is the “Golden Restless Age” because it sounds like the War on Drugs. Apart from that, the rest of the album sounds like Kings of Leon with more grown-up subjects. However, those three tracks I mentioned to Tommy caught my attention, and for those fleeting moments, I enjoyed listening to the band.

Because of those three tracks and the departure from talking about sex and whiskey all the time, there is something to look forward to in the future from the band. They have shown that they are ready to tackle more sobering issues and are willing to dabble with the sound. If the band makes something entirely out of the ordinary next time, they show they aim to be around for another decade. Who knows, they might get America on board and remove the stigma of “They’re a band for the Europeans with their Indie Rock.

Song recommendations: “Golden Restless Age”, “When You See Yourself, Are You Far Away”, “100,000 People”

8/10

Week 52: Paul McCartney- III

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What can you say about this man? An ex-member of one the greatest bands of all time who has inspired a generation of musicians and bands to break through from Cast to Oasis and even bands to date. Paul is a self-taught musician on pretty much any instrument he picks up. It started as a child when he wanted to play the piano, which his grandad was very fond of, but Paul’s father refused to teach him, saying he would benefit more from learning to teach himself. From there, the rest is history, and Paul, since learning to play by ear, has gone on to be one of the most decorated musicians and songwriters the world has ever seen. He can write a song as if rain was falling from the sky in his native Liverpool (Like any place in England, you will understand what I mean by this.) and is called a genius by his peers even though he openly admits he despises the tag and modesty says “I’m not a genius, I’m just a bloke who writes music.”. 

Here is my track-by-track review of his latest album:

Long Tailed Winter Bird:

This is more like one of those throwaway tracks or a track that was added just as filler. There are no lyrics to this song, and the instrumental started as a track for a film upon which Paul made longer and opted to use for the current album. According to Paul, the name was taken from a book he owns about birds.

Find My Way:

Composed initially while listening to the radio in the car, Paul then took his idea into the studio. He still decided to keep the piano but changed the verses to something that worked better.

Pretty Boys:

The story is about male models whom the paparazzi harass, and Paul said upon walking in New York that he saw a line of hire bicycles and came up with the concept that the models were for hire.

Women and Wives:

This blues number on the piano was born after Paul read a book on Lead Belly. He then sat down by the piano with a few simple chords that would fit around blues vocals. From there, he flew back to England to head to the studio and record it.

Lavatory Lil:

This song is about someone you don’t like, probably even hate, and creates a sphere where you exaggerate what they are like based upon your perceptions of them. I imagine Paul did have people in mind but opted for a nameless character to avoid being caught up in a legal battle.

Deep Deep Falling:

It was the longest track on the record at over eight minutes. The track was originally going to be trimmed, but Paul liked the track that started as a jam session, which later the lyrics and vocals were added to so much, he wanted to keep it that long.

Slidin:

Again, this is another track that started life as a jam. This time, during a soundcheck while on the European leg of a tour in Germany. Originally, it was to be used for his 2018 album “Egypt Station” as he liked the riff, but it didn’t work and was therefore half-baked. He returned to it for this record’s studio sessions and added lyrics while chopping and changing several other things but keeping the guitar riff. The title is from Paul watching the Winter Olympics and the commentator saying the term “Sliding” when the sports in question were done on the piste.

the Kiss of Venus:

A psychedelic song inspired by a book Paul was given about Earth, Mars, Venus, and the moon, where the phrase, which later became the title of the song, kept jumping out at him.

Seize the Day:

Another track was created on the piano, and Paul improvised. He built the rest of the song upon some lyrics about Eskimos and ice. From there, he added about the cold days in the chorus and then turned this extremely eccentric song into about enjoying today rather than letting the cold days drag us down.

Deep Down:

Another track evolved from a jam session, and from there, he built around it by improvisation. There needed to be a solid concept in place to write a song from it.

Winter Bird/When Winter Comes:

This track surprises you because it sounds like a continuation of the opening track but then evolves into something else with vocals, drums, bass, and guitar.

Song recommendations: “Deep Deep Falling”, “Slidin”, “Seize the Day”.

7/10

Week Thirty-Five: the Killers- Holding the Mirage

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Here is a track-by-track review of the band’s sixth studio album:

My Own Soul’s Warning:

This is the first track I heard off the album while I tuned into Absolute a few weeks before the album was released. It is a slow-building track that bursts into a traditional Killers wall of sound. You can never forget the sound for that reason alone. The fable is quite religious, and what happens when you start questioning its validity? 

Blowback:

I remember while listening to this track if there is a deliberate drug reference behind the title. Because we all know when you partake in doing a blowback. However, the subject is altogether very different. It is about a lady trying to forget the past and move on but keeps getting blown back to times she would rather forget. Brandon Flowers has shown his ability to compel you with his lyrical content and stories. As the song draws to the end, two men appear to discuss the lady and how one has strong feelings for her, but the other man asks if he is willing to stay when the past creeps back in.

Dying Breed:

Brandon goes for it on this song, especially in the chorus, as his vocals grow in volume. A typical Killers track with all the synthesisers, et cetera. One to get the seating section up on their feet for a dance when venues are back to total capacity.

Caution:

The single promoting the album sounds like four bands rolled into one song. The intro is very Tame Impala, the verses are the War on Drugs and Slowdive, and the chorus is the Killers. Once again, the lyrical content and the story draw you in. There’s even an appearance by Lindsey Buckingham on the lead guitar. The story is about rolling the dice and throwing caution to the wind regardless of the consequences because you don’t want to regret missed opportunities.

Lightning Fields:

For the second track in succession, there is a feature in the form of K.D. Lang, and it works because her heartfelt vocals add to the whole aspect of the song. This is Brandon’s ode to his mother. As I said, it is Lang’s vocals that stand out over a typical Killers track that is inspired by the 80s. (It is hard to believe that when their debut was released, they were dubbed the American version of Oasis.).

Fire in Bone:

There is a bit of experimentation for the band here as they try doing funk. This reminded me of the prodigal son story from the holy bible, where you are forgiven for your wrongdoings upon your return. I especially love the lyrics, which thank the person for being there when they thought they were alone. It is also a reminder that only some of the time do we need to make it out of the dark without help and can confide in others. This is Brandon once again telling his wife that he’s always going to be there and she doesn’t have to suffer from her mental illness in silence. This could be a track that wasn’t quite good enough for the previous album, but Brandon felt that its unique beat and storyline fit perfectly on this record.

Running Towards a Place:

What with the biblical story on the previous track and the ongoing theme of religion, this album is very much invested in faith, and it’s no different on this track. Brandon could be a religious Mormon, but I am unsure. But on this track, he wants to believe that heaven and hell exist and to go to heaven and take the people he loves and cares about. Brandon has done a lot of soul-searching during the production of the record.

My God:

Weyes Blood’s vocals complement Brandon’s beautifully over what I can only describe as a hymnal rock (Does that genre exist? Surely, it must do?). I know that Brandon talks about being relieved that something weighing him down has now been lifted and wants to celebrate that fact. It might be again about his wife and how talking to her and dedicating a whole album to her mental health has made him understand and become a better person and husband.

When the Dreams Run Dry:

This appears to be a follow-up to “Running Towards a Place” with the theme of getting to heaven but aimed more at the pop market and seems to be the sole pop track on the entire album.

Imploding the Mirage:

The album closes with the title track and is appropriately upbeat—the best way to complete any record. You want the listener to have enjoyed the experience and leave them washed with euphoria as the last song fades out. Brandon talks about how he first locked eyes with his wife and how their opposite personalities were worth the danger of combining—a superb way to end another magnificent album.

Song recommendations: “Holding the Mirage”, “My Own Soul’s Warning”, “Caution”.

9/10

Week Thirty-Two: Fontaines D.C.- A Hero’s Death

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I remember hearing about the buzz of this band from Dublin a few years back from some folks I follow from Scotland on Twitter, so I first assumed they were an up-and-coming band from Glasgow or Edinburgh. Imagine my surprise when I finally listened to one of the many videos shared on that platform via YouTube. The track, funnily enough, was also the title of their debut album “Dogrel”. I have to say, I loved the energy, but the lyrics were…beyond basic. Their lead vocalist, unfortunately, didn’t impress me much, and I wondered what was the point of having Grian Chatten in the first place. His vocals sounded like a drunk punter slurring through a song on the karaoke machine. Despite that, his flat vocals work pretty well in the punk genre. Let’s face it: Johnny Rotten was hardly blessed with amazing vocal ability. I can’t think of many punk vocalists who can sing. Billie Joe Armstrong, maybe? After hearing the title track, I gave their debut album a full listen and was impressed with the picture they painted of their beloved Dublin City. I found the album had more structure lyrically than just that one song. Even if you’ve never been to Dublin or Mother Ireland, you have a good idea of what life is like from “Dogrel”. As much as I have never found the lyrical content impressive, I appreciate the energy the music provides; it is a bit like IDLES. There are minimal lyrics but fantastic energy in the instrumentation.

That’s enough brief history on the band and their debut; let’s review their second and latest album, funnily enough, also named after the track “A Hero’s Death”. They didn’t bother relying on the success of “Dogrel”; as you can imagine, they decided to intentionally head into another direction with the whole instrumentation and lyrical content. After all, writing about living in Dublin becomes quite challenging when you last visited before being on the road to promote your previous work. Grian has said that the band would have felt like they were frauds talking about life in Dublin again, as they haven’t been there much to experience it the past year, and therefore, it wouldn’t be fair on the listener to buy an album, which didn’t represent anything

authentic, thus making the listener lose interest in the band.

Instead, the band has talked about the places they have been on the road and what they have experienced and seen. As you can imagine, life on the road isn’t always sweet when you’re constantly sharing space on a tour bus, and this album certainly shows that as it discusses their excessive drinking, loneliness, depression, and fighting with each other because you are sick of the sight of each other during a long and arduous tour. I recommend a good documentary on life on the road and how this is depicted perfectly. It’s about Keane, so go and look online or buy their DVD. This album is more downbeat and lacks the energy of “Dogrel”, but I suppose that would always be the premise to replicate their mood on tour. For example, “Living in America” is very slow and melancholic. Then the tempo is switched up on “A Televised Mind.” the latter is not great lyrically, but you can feel the energy from the rhythmic pulsing of the guitar and the thumping bass of the drum. Once again, the title track is minimal with its lyrics (I believe, from what I remember hearing, it just repeats “Life isn’t always empty” for the duration?), but the instrumentation does it justice.

The band does not apologise for their change in direction and even know they may lose fans by not keeping in line with the debut. They even acknowledge that some people will be disappointed with the second record, but unfortunately, life has changed, and this is who they now are, so they cannot write songs about living in Dublin anymore. In fact, “A Televised Mind” is a dig at those who want to be appeased. “A Televised Mind” seems to be about people stuck in their ways and refusing to accept change. It is like some Oasis fans who can’t take that Noel does the music he wants to do.

Dan Carey’s services proved very successful on “Dogrel”, so the band chose him again. This time, as mentioned in this review, the sound would be very different in line with the band’s fresh outlook. The first record was very compact, but Dan gives more of the spotlight on the music this time, so you can fully appreciate Carlos O’Connell and Conor Curley on the guitars and Tom Coll on the drums. There is also room for ballads like “Sunny” with a gothic-like sound.

It is also worth noting to get the sound they wanted, and they were listening to quite a lot of the Beach Boys while they were touring stateside. The band wanted to make a record that wasn’t straight down the line, and that the Beach Boys heavily inspired “A Hero’s Death”.

As much as I liked the record, I am once again left unimpressed with the elementary lyrics that anyone could make up on the spot and the flatness of Grian’s vocals. Now, he is quite passionate about his profession, but it doesn’t come through in his studio performances and onstage performances. It’s quite sad. The music has the energy, albeit at times on this record brings it down, but Grian remains at the same tempo throughout. It is good that the band is willing to experiment so early in their career, but they are in danger of losing their identity, which accrued them fans. They must maintain sight of what made them unique, or they will fall into the generic bands they are frequently associated with.

Song recommendations: “Sunny”, “No”, “A Televised Mind”.

7/10

Week Twenty-Eight: Paul Weller- On Sunset

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It is absolutely amazing that the older the Modfather gets, the better his music gets. Before 2005, he had a mini-slump as we entered the 21st century, but not as bad as being almost the forgotten man for a bit in the 1990s. He did jack it all in after 1989 when going through turbulent times since the Style Council split. In 1991, he went back out on the road playing small venues, to begin with, as a solo artist, but it sounded more like a band called the Paul Weller Movement. He then released his self-titled debut album in 1992 and once again was being talked about for the great songwriter that he is. Still, it was his second album “Wild Wood” that really got him back in the limelight, not to mention the praises of a young, fresh-faced songwriter called Noel Gallagher (Who is still his neighbour at present in Little Venice despite Noel trying to sell his London home.) who happened to be in a band called Oasis who were leading the movement back in 1994, which got Paul new fans and at present, the momentum from that year is still carrying Weller through. Yes, he had three disappointing albums to begin the 21st century by his standards, but since “As is Now”, Paul has had the fire in his belly to prove he’s still one of the greatest songwriters in the world.

He has also had a philosophy of not looking back since 2005 and has dared to experiment on every album thereafter. “On Sunset” is no exception. Instead of sticking to the sound he once mastered, he has added vim and zest with his experimental endeavours. They usually say, “If ain’t broke, don’t fix it.” However, in music, you need to change with the times and push yourself to try new ideas rather than stagnate. This is why most songwriters disappear from the radar because they are too comfortable. Weller is willing to try new and exciting things to let everyone know he is still working and stamp his authority all over the industry.

Weller has changed up the tempo for this record; as we all remember, “True Meanings,” his last album from two years ago, was very reflective and simplistic. However, “On Sunset” is a departure from its predecessor and challenged him, but from what I heard, it’ll bear fruit for the Modfather in the long run.

The record begins with “Mirror Ball”, which I would describe as a three-in-one track because of the number of genres included. It goes from psychedelic, experimental, sub-bass and then, as the seven minutes approach, back to how it began. I could see the likes of the Chemical Brothers, Toydrum or Amorphous Androgynous remixing this, but Weller is more than confident of having a go himself as he gets bolder these days.

Most of the album, which was recorded at Black Barn Studios in Surrey, has a very summer feel to it when it was probably recorded during the cold winter of this year and last year. The whole element of funk and bass adds to that summer effect. However, towards the end of the record, we have tracks like “Equanimity” that sound more like he did back in 2000 compared to what he has been doing for the last fifteen years of being very experimental in the studio.

The title track is sound, but I don’t know if the final mix was supposed to have the effect of the Modfather’s vocals being overpowered by the strings to accompany them. It seems odd that Weller’s vocals are very feint.”Bapiste” reminds me of his track “Wild Wood” from the early 1990s when he dared to go solo, and it feels like a song dedicated to his passion.

The production is a bit much, but the lyrical content more than makes up for it. I’ve heard some bullshit in recent years that the Modfather is no longer a force with his songwriting, but after nearly 50 years in the industry, I disagree. He has always retained his ability to write songs; even those first three albums of the 21st century still had gems on them, although fewer. I loved “Rockets” as Weller once again gets political and takes a swipe at the sorry state of current affairs. He was also clearly inspired by the late David Bowie, as it sounded a bit like Bowie’s Ziggy Stardust era.

“More” indicates what Weller plans to do from here on in. “There’s always something else in store, keeps me running down that road.” if that isn’t a clear indication, then I don’t know what is. Weller is not planning to retire any time soon and is still hungry for more accolades among the many others he has received over the decades. 

Once again, the Modfather has stamped his authority all over the industry and is not paying attention to those who think he should be in the garden of his Little Venice mansion, having a cigarette with a pint and reflecting on all the milestones he has reached. I look forward to another experimental album to follow this.

9/10

Song recommendations: “Rockets”, “Mirror Ball”, “More”

Week Twenty-Five: Liam Gallagher- MTV Unplugged

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I remember back in 1994, Oasis did a handful of intimate acoustic gigs to help promote their debut album “Definitely Maybe” at various commercial record stores like His Master’s Voice and Virgin Megastore. I also remember Liam saying he loathed doing acoustic songs, let alone gigs, back then. Let’s consider the infamous 1996 MTV Unplugged at the Festival Hall, where Noel had to take over vocal duties after Liam bullshitted about having a sore throat. Why do I say bullshitted? Because he was up on the balcony drinking and heckling his middle brother at every opportunity. He should have just said he didn’t feel like doing it and let Noel and the others do it without him, which they had to do, anyway. It showed great disrespect to the unplugged series by MTV who have had the likes of George Michael, Nirvana and Alice in Chains to name a few. It’s also more surprising that Liam didn’t do it after doing “120 Minutes” two years before for MTV.

Anyway, the venue chosen for his undeserved second chance with Unplugged came after his middle brother branded Hull “A fucking shithole.” in all fairness, I have heard other musicians call it and one who is even from there. He vowed to play in Hull and even thought the people and city were great.

Many have called this a “Great performance”, but as I have stated many times, Liam might be a nice person in the main (Unless you happen to be Noel, Paul and Johnny.), but his voice has been found wanting since 2004. When I hear the ultra parka monkeys who won’t hear anything wrong said about Liam, I simply cannot believe what the fucking idiots are saying. They sent me links to this gig at the time to songs such as “Sad Song” and suggested I pass comments on his vocals, and, unfortunately for them, I did, and they were not what they wanted to hear. It sounded like a fucking cat walking over a vinyl playing on the turntable. It makes me cringe having to listen to him these days. I feel embarrassed and saddened by what his voice once was.

I am not a fan of his solo material written by several songwriters, and I have to laugh at most of his songs being acoustic after what he said in the past. Again, we have a setlist top-heavy with Oasis songs. I wish he would let it go and enjoy his success. Oasis is the past and should stay there. Many would say, “You wouldn’t go and see Liam or Noel Gallagher’s High Flying Birds if they didn’t play Oasis songs”. 

That’s a load of fucking bollocks. I will quite happily go to their gigs to hear their material. They both have enough to consign Oasis to television and YouTube archived footage. Liam can’t seem to let go and keeps pushing for a reformation only the ultra parka monkeys or the Supersonic 2016 generation want to see. It’s not the fault of Oasis that you missed the window. I wanted to see the Jimi Hendrix Experience, but you know? It’s just unlucky, and you must learn to accept that.

5/10

Week Seventeen: Gerry Cinnamon- the Bonny

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Here is a track-by-track review of Gerry’s second album:

Canter:

I found out via an interview by Gerry that Canter actually is Glaswegian slang for easy. Now, being a Celtic supporter, I was amazed I didn’t know that, but somehow, I still understand what Gerry is talking about in his songs. I can watch shows like Still Game and understand most of the Glaswegian slang used. Anyway, the song is basically about how not to take things too personally and to trust your instincts; as the track points out, “Things will only get better, if only you could stop being wee less of a wanker”, or lyrics to that effect. The fans who saw him at festivals and concerts last year already knew the words before it was recorded.

War Song Soldier:

A very touchy subject is discussed in the song, but even though Gerry finds it challenging to talk about the issue, he feels the only way to express himself is to write and record it through the medium of song. That’s probably how 90% of musicians express themselves, as they find talking about darker periods in their lives too much.

Where We’re Going:

When I heard this, I felt it was a cross between the Cure, the Smiths, Johnny Marr and Morrissey with its musical style. Again, Gerry is digging deep within his soul as he talks about hitting rock bottom and trying to get through the other side, no matter how tough. He believes that if you can see a future, you can escape. I like it. It’s based on reality.

Head in the Clouds:

This song wasn’t written by the time Gerry returned to record this record but was written in just three days. The song matter is about his struggles with insomnia and how after being deprived of sleep for three days, he finds it hard to function and concentrate and therefore, the things he wanted to do all turn to shit. However, as the song progresses, you get confused and start hearing a love story emerging, and you’re thinking, “What the fuck? I thought this was about an insomniac?”. By the song’s end, you realise it is about someone in love but can’t handle the prospect of getting hurt, so they want to run rather than give the love a chance to unfold.

Dark Days:

The title is misleading but, at the same time, very apt. It talks about being able to smile and enjoy life even through the dark times that either surround our environment or our own personal circumstances. Quite apt, we are surrounded by wars, corrupt politicians, and a global pandemic.

the Bonny:

The title track is actually about chasing your dreams (No matter how crazy.) and not giving a fuck about people putting them down and building on them to see the dreams come to fruition. The song is also part of a trilogy that began on his debut 2017 album “Erratic Cinematic”. It begins with “What Have You Done” and then starts on this record with “Canter” and ends with this song unless Gerry is going to surprise us with part four on his third album.

Sun Queen:

The verses are about wasting your time and caring about things that mean fuck all, and the chorus is about focusing on the things that really are worth your time and energy.

Outsiders:

I have interpreted this song because you have your mind and do your own thing, no matter what anyone tries to tell you what to do and how to think. It’s like not following what everyone else does and becoming brainwashed by what they are being fed in the mainstream. There are even lyrics within the track where Gerry mentions that even though there are times when he can’t be fucked with making music when he hears his fans repeat back his lyrics to him, he believes in himself and music once again because the fans make it all worthwhile. Gerry said that he was given “Outsider” as a nickname, but instead of taking offence to the term, he has embraced it and sees it as a compliment. The song has a combination of Green Day and Oasis. The melody reminds me of Green Day’s “Know Your Enemy” and the riff like the bridge on the acoustic version of Oasis’ “Supersonic”, which Noel Gallagher performs these days with just Chris Sharrock striking a tambourine and Mike Rowe supplying the solo on the keyboards for Noel Gallagher’s High Flying Birds.

Roll the Credits:

This plays out like a typical early 1900s film about a couple splitting up and saying goodbye on a train platform with tears in their eyes.

Mayhem:

Although Gerry carries on playing the acoustic guitar, rather than switching up to electric (Maybe the third album?), this song has a club feel to it with its pulsating kick drum (Well, the second part of it, anyway.). The beginning, though, suggests the track takes on a Latin vibe.

Six String Gun:

The title is likely a nod to Gerry’s favourite weapon (The guitar, obviously. Henceforth, “Six String Gun”.). However, the premise is very different and discusses how to be a better person even in situations where that is extremely difficult and by showing yourself as a good individual, you will get taken advantage of. Especially in the industry that Gerry is in.

Every Man’s Truth:

This is a great way to end the album, as it discusses ideologies that we all share and whether the truth that we think we know is indeed genuine or if those who open their eyes to the world around them and don’t fall for all the bullshit that’s fed in the main are the individuals who are actually seeing what’s really hidden? The song, bizarrely, doesn’t appear to have a chorus until the end. Gerry has gone on record by explaining that “Every Man’s Truth” is about addressing the truth that we really don’t know and how everything we hear, read and see isn’t always accurate (Corrupt politics for a start.). He says that our opinions are only borrowed or forced onto us through the mainstream media and that what we believe is sold to us through our own biases and follows us from the cradle to the grave. This appears to be a dig at the secret council known as the Illuminati (You know? The all-seeing eye, pyramid folk?). Whether he does believe in that or not, I do not know, but he leaves it open to the listener to do some research or ignore him as a nutter. It’s worth looking into; from there, you can make up your own mind. Gerry says that the acoustic guitar is more honest when you’re writing and revealing the song, but I would like him to bring some electric guitar to his next album, but that’s entirely up to him.

Song recommendations: “Where We’re Going”, “Outsiders” and “Every Man’s Truth”.

8/10