Psychedelia

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 19: Pink Floyd: at Pompeii MCMLXXII 2025 Edition

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I must confess that due to the band’s rich history, it is difficult to write a brief introduction to Pink Floyd. So strap yourselves in because this is going to be a long one before I finally get to the review.


When you think of Pink Floyd, you think of more than psychedelia and progressive rock, deep lyricism, and sonic innovation. You think of extravagant light shows, brilliant cover art, and far-out films. Despite the band being currently dormant, their music still resonates to the present day.


Pink Floyd’s journey begins in the swinging 60s(1965 to be precise)in London, with the original members consisting of the late Syd Barrett, Nick Mason, Roger Waters, and the late Richard Wright. The band’s sound was a product of the psychedelic experimental era, with Syd’s whimsical lyricism capturing the essence of the time. The perfect example of this influence was ‘Arnold Layne’ and ’See Emily Play. The band was already setting itself apart from anyone else, creating a deeply nostalgic sound of the 60s era.


Of course, as most bands will experience, they were faced with adversity when their chief songwriter, Syd Barrett, who had his demons, departed in 1968. However, his departure became a key moment in the band’s wall of sound that would follow. David Gilmour would be recruited, and his blues-inspired guitar work and soulful vocals would send the band on a more progressive rock trajectory, and the songwriting would also become structured.


The band’s best period would be the 1970s, with a string of iconic albums, such as the masterpiece “The Dark Side of the Moon”, which fearlessly addressed subjects such as madness, greed, and mortality. The thought-provoking lyricism, soulful vocals and ambient soundscapes hooked listeners in, and it is not hard to see why it became a best-selling album. This was followed by “Wish You Were Here”, a tribute to the departed Syd Barrett and a critique of the music industry. “Animals” was next. A record inspired by the late George Orwell’s Animal Farm novella, with the band becoming more political. Each album showed the band’s courage in addressing more complex and controversial themes.


The final album released from this period would be 1979’s “The Wall”, a rock opera thought up by Roger Waters that explored controversial themes like dictatorship. The record would be a stage show, and a film that featured Boomtown Rats’ frontman Bob Geldof taking the lead. It showed that the band were more than just music.


The band would face more adversity when the late Richard Wright departed, and Waters would be embroiled in a legal battle with the remaining members. Even though the band appeared to be in turmoil, Gilmour would become the leader for 1987’s “A Momentary Lapse of Reason” and 1994’s “The Division Bell” Waters and Gilmour would become bitter enemies for several years while the legal battles swirled.


It wasn’t until 2014 that the band set aside their differences and returned to the studio to record “The Endless River”, an album focusing on instrumentation that remained unreleased from “The Division Bell” session during the early 1990s. It is their final album to date.


As mentioned earlier, the sleeping giant is more than just a band. They are innovators who pushed the boundaries of their use of sound and technology; they are films and embody the concept of art. Their music still resonates with listeners regardless of their age. The reason being not only for their progressive rock, but also for their ability to address complex and controversial issues. From the beginnings of psychedelic rock to being more experimental during their later records, they remain one of the most influential bands in music history and their legacy is cemented.


Now, let us begin the track-by-track review:


Pompeii:


Not much to explore here. Just a brief instrumental.


Echoes Part I:


As you can imagine, there is more room to play with live, so the band makes the live performance last more than ten minutes. The second verse stands out with David Gilmour’s axemanship, which sends shivers down your spine. The song ends abruptly after an extended guitar solo from Gilmour, and later on, you will find out why.


Careful with that Axe, Eugene:


The song has a lot of keyboard noodling by the late Richard Wright, but it goes from mellow to Roger Waters letting out a bloodcurdling scream during the frenetic section, before returning to mellow ambience.


A Saucerful of Secrets:


We encounter a unique melodic complexity as we reach the midpoint of the live album remix. While it may seem discordant, this very element is what piques the listener’s interest, turning the experience into a journey into the avant-garde nature of the song. Gilmour’s heart-wrenching wordless harmony over the final organ chords is not just a standout; it’s a moment that genuinely moves the listener. And let’s not forget Nick Mason’s drumming on the live version, which is equally captivating.


One of These Days:


It may lack the polished crescendo of the studio version, but the live version shows their ability to translate the complex soundscape onstage. Once again, Nick Mason is the standout performer, with David Gilmour dominating the second half with his effortless guitar playing.


Set the Controls for the Heart of the Sun:


The highlight of the concert. It perfectly captures their spooky and hypnotic vibe. Their dynamic soundscapes are fully displayed, showing quiet introspection into those intense and powerful crescendos.


Madomoiselle Nobs:


It seems out of place with the concert so far, despite Gilmour’s harmonica.


Echoes Part II:


As mentioned earlier, the song is split into two sections, and after the abrupt end comes the cosmic seagull section. The standout is Gilmour’s guitar performance leading into the final verse. It seems odd to split this one because it sounds much better and makes more sense in full.


The remastered 2025 version concludes with an alternate take of ‘Careful with that Axe, Eugene’, and the unedited version of ‘A Saucerful of Secrets’


Overall:


Despite the inevitable flaws of live performances, this album perfectly encapsulates the band’s experimental spirit, extended instrumental jams, and dynamic soundscapes. It’s an album that would truly come alive under the influence of a hallucinogen, with the instrumental jams conjuring up some truly eccentric images. This record will undoubtedly resonate with the Pink Floyd connoisseur, offering a unique experience that may prove challenging for the casual listener due to the lack of lyricism.


Song recommendations: ’Set the Controls for the Heart of the Sun’, ‘ A Saucerful of Secrets’, ‘Careful with that Axe, Eugene’


7/10

Week 11: Ariana Grande- Eternal Sunshine

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Let’s dive straight into the track-by-track review:

intro (end of the world):

This short intro consists of guitar plucking an orchestra and vocal layering as Ariana asks questions about being in the right relationship.

bye:

From the intro, Ariana has made a decision: The relationship isn’t the right one for her. She conveys this over a power ballad inspired by the 1970s fused with disco-pop. I also loved her cheeky lyricism, where she says, “This hook feels too hard to sing.”

don’t wanna break up again:

Even though she expressed about leaving the relationship in the previous track, in this one, she doesn’t want that to happen because she doesn’t enjoy it when a relationship ends. She mentions crying herself to sleep while her boyfriend watches the television and turns up the volume to drown out her sobbing. She also toys with his emotions, which breaks his heart. Look out for the infectious chorus on this one.

Saturn Returns Interlude:

Someone can be heard uttering something. I don’t know what exactly. I have no interest in interludes.

eternal sunshine:

We arrive at the title track, where Ariana longs to clear her memories of the toxic relationship that consisted of arguing, lying, and cheating. This track occurs after the relationship has ended and both have moved on. In the song, she expresses that her current boyfriend is all she ever wanted. This is a quintessential Ariana song, but it has been included to keep on topic with the rest of the album.

supernatural:

Over this beaming ballad, she discusses that even though love can be a rollercoaster, we cannot live without love. Mariah Carey’s songs inspire the chorus during her prime in the 90s. Ariana’s vocal harmonies are the icing on the cake.

true story:

She now goes full-on 1990s RnB, and it is no surprise that it works because Max Martin was responsible for producing quite a lot of this genre back then. It reminded me of what the late Aaliyah, TLC, et al. did in the 1990s. I also heard En Vogue on this one, too. As for the story, Ariana becomes the evil girl/villain, which is a humourous dig at the media. Rumour has it that this song started as a parody track and was used for a shelved comedy project, so it comes across as cheeky and playful.

the boy is mine:

Ironically, it has the same title as the hit by Brandy and Monica, but even more ironically, the song is old-school R&B. This track, however, is about stealing a boyfriend from another woman. Ariana has fun with her sarcastic delivery and tongue-in-cheek lyrics.

yes, and? :

This is my favourite track off the record. It reminded me of all that 1990s R&B fused with house that I grew up with. Lyrically and sometimes sonically, it nods to Madonna’s ‘Vogue’. It is extremely upbeat and rather out of synchronisation with the rest of the album.

we can’t be friends (wait for your love):

As you may be aware, Ariana is going through a divorce at the moment, which explains the narrative of the record. This track is about her cutting him off and trying to avoid the media’s attention while she deals with it. Look out for the catchy hooks and yet more brilliant songwriting by Ariana.

i wish i hated you:

There’s nothing fancy by her vocally on this emotional ballad. Instead, you will hear her voice in its purest form over a cosmic-like production. This song got the better of her as, at certain moments, you can hear her voice crack as she expressed that she finds it hard to leave him because she doesn’t hate him. 

imperfect for you:

This one was a shock. Considering her age, I was surprised the 60s would inspire her, but this has a Beatles psychedelic phase vibe. Don’t be fooled by the psychedelia within because this is another heart-wrenching ballad addressing her issues with depression and how it makes her relationships challenging.

ordinary things (ft Nonna):

As far as I knew, this was the only collaboration I heard on the album. This is another ballad that goes full circle with Ariana asking the question she did initially, concluding that the simple things only matter when you are with the right person because luxurious and materialistic items will never conquer love. Who is Nonna? Well, it’s her grandma, and on the coda, which is spoken, her grandma is giving advice about what to do in a relationship, and if she feels she can’t or is uncomfortable, then it is time to move on. 

Song recommendations: ‘yes,and?’, ‘supernatural’, ‘i wish i hated you’

8/10

Week 35: Royal Blood- Back to the Water Below

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The duo played a few songs on Later…with Jools Holland back in May, and ‘Mountains’ stood out, which showed that this was an album to look forward to. Contrary to what occurred at BBC’s 1 Big Weekend festival, where Mike and Ben showed their disdain at the crowd for not giving their performance enough attention, their teasing of the record on Jools’ show showed that that would be water under the bridge as the duo still had the sound that everyone fell in love with in the last decade.

This is the Brighton duo’s fourth studio album, and despite being short, I enjoyed it. I have heard indifferent opinions on the record. My only complaint is it was far too short at 31 minutes 22 seconds( Even the bonus tracks see it under 40 minutes.). Still, at the same time, the duo appear to be taking it back to the days when a single played on the radio was extremely short (Usually just under 3 minutes or barely over.). The album is also their debut in producing their music, which has borne fruit. It is not because it has obviously hit the top of the chart, but because the songs are good. One of the factors of Royal Blood experimenting in the studio was there was no one to tell them to play it safe.

There are plenty of influences of the late David Bowie’s Ziggy Stardust-era on ‘the Firing Line’ and the Beatles during their psychedelic phase. We then have funk on ‘High Water’ and the usual metal sound on ‘Shiner in the Dark’. There are even quieter moments with piano ballads—something which we are unfamiliar with the duo.

I loved the guitar solo on ‘There Goes My Cool’. The album is an eclectic mix of sounds that has inspired Mike and Ben at some point in their lives, and we are only starting to hear it now the duo have self-produced. Of course, there is the usual lull, which is found on every record you have ever heard during the middle, but overall, despite its short length, this was an excellent listen.

Song recommendations: ‘the Firing Line’, ‘There Goes My Cool’, ‘Everything’s Fine’

8/10

Week 29: Blur- the Ballad of Darren

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I have decided to do a track-by-track review because it is the legends that are Blur. However, before I get to the review, I will introduce the band, as this is my debut review of them. They were formed in 1988 and initially named Circus before changing to Seymour. Damon Albarn was the sole member until bassist Alex James joined. Drummer Dave Rowntree followed in October before Damon recruited his childhood friend, who met when he moved to Colchester lead guitarist Graham Coxon. They then signed with Food Records in 1989. The label drew a host of names for the band as they were not keen on Seymour. They would decide on the name Blur.

They went on a UK tour in 1990 and released their debut single ‘She’s so High’, which reached 48th in the chart. For their following single, they worked with producer Stephen Street known for working with the Smiths and Morrissey, who the band were fans of. Stephen would produce the Stone Roses-esque ‘There’s No Other Way’, an instant hit with music fans and would peak at no.8 This would propel their status in the industry, but their third single ‘Bang’ was a total disaster peaking at no.24. Their label encouraged the band to keep the sound in line with the music coming out of Manchester at the time, dubbed Madchester. Their debut album, “Leisure”, came out in 1991 and charted at no.7.

Despite their mild success, they found themselves 60,000 pounds in debt and did a US tour in 1992 to clear their debt. They released their 4th single, ‘Popscene’, to promote the tour. It may only have charted at no.32, but the single would cement the Blur wall of sound we can still hear. The US tour was a bomb scare, with the members fighting and arguing.

When they returned, they worked on their second album, “Modern Life is Rubbish”, released in December, but then rejected by the label and wasn’t ready for release until May 1993. ‘For Tomorrow’ was 28th, and the record charted lower(15th)than their debut.

Their third album, “Parklife”, released the following year, got Blur the recognition they finally deserved. It helped that Oasis was being talked about and revived the Indie scene. For Blur, ‘Girls & Boys’ went in at no.5, their highest entry, but even better was “Parklife’, which became their maiden no.1 album. The band would win four awards at the 1995 Britannia Music Brit Awards.

The band would release “the Great Escape” the following year, which also went in at no.1, and they also went head-to-head with Oasis summer when they pitted their ‘Country House’ against the Mancunian’s ‘Roll with it’. Blur would beat Oasis to the no.1 single spot, and in the process, the media made up a bullshit ‘war” between the two bands, which saw fucking brainwashed idiots taking sides instead of appreciating both bands’ music.

Blur released their self-titled the following year, departing from the “Britpop” sound. Especially with the heavy rock song ‘Song 2’. Their first single, ‘Beetlebum’, a song that Noel Gallagher recently confessed that he thought was their best song and wished he had written. 

Blur gave themselves a bit of a break and released “13” in 1999, which spawned the hits ‘Tender’, and ‘Coffee & TV’. “13” was yet another no.1 record. The next album would be in 2003 without their lead guitarist Graham Coxon and would be replaced by the Verve’s Simon Tong (Yes, his brother was the drummer for Bloc Party). “Think Tank” would also at chart no.1. There were several rumours in 2004-07 of the band working on extended plays, but these never happened, and without knowing it, the band disbanded. 

They would reform in 2009 for a Hyde Park show, but it was Glastonbury, which would prove successful, and the fans hoped the band would stay together. They also headlined Oxegen and Tennents in the Park the same year. The band released their second greatest hits album after the successful reunion shows.

There would be several accolades and documentaries released before 2015 when the band announced they were back with their original lineup and released “the Magic Whip”, recorded in Hong Kong during a five-day visit in 2013. The band would hibernate after touring “the Magic Whip” until 2019 doing a special gig in London.

This brings us up to the present, where the band played EE Stadium, Wembley last month, and then played “the Ballad of Darren” in its entirety at AventimApollo last month. This will be the only time the new album will be played in its entirety live. The event was broadcasted online via a paywall, and of course, those who got tickets to witness it at the venue. Now, let’s get on with the review. I have given a long enough introduction to the band. I will also add that the album is named after their late security guard Darren “Smog” Evans:

the Ballad:

The opener begins with a drum machine that sounds tinny over minor keys and reflective vocals. This appears to be a hallmark of Damon’s solo material, but luckily for him and the listener, his bandmates from Blur are there to give the track more life akin to Blur. Graham Coxon especially rescues the song with his unique guitar playing and his backing vocals, then Alex James with his signature basslines. It is like Blur hasn’t had to shake off the rust of being absent from the studio for a decade.

St Charles Square:

For me, this track was the quintessential sound of Blur from the 90s and reminded me of tracks such as ‘Girls & Boys’ and ‘Charmless Man’. Again, Graham takes centre stage with his overdrive guitar tones.

Barbaric:

This is Damon putting the Gorillaz sound onto Blur. The subject, though, is not of the kind associated with the Gorillaz, as it is about a relationship falling apart and one of the lovers being hopeful yet bitter about it. However, they adopt something that Damon’s now friend Noel Gallagher is exceptionally good at blending melancholia lyrics over upbeat instrumentation. Staying with the Manchester thing, this track has an instrumentation that Morrissey and Johnny Marr excelled at within and outwit the Smiths. Graham Coxon’s intricate guitar playing gives the melancholia of Damon Albarn hope.

Russian Strings:

A more delicate side to the band, which sounds like ‘the End’ with overlaying guitars slow fading on the outro. 

the Everglades:

So far, ‘St Charles Square’ is the only track that has resembled Blur’s 90s sound, and this track doesn’t give us a glimpse of it happening anytime soon. In fact, with the plodding acoustic guitar, this is more Simon and Garfunkel, complete with strings.

the Narcissist:

This was the track that everyone heard before the album was announced, and it was safe to say that it was an instant hit with their fans, but also music fans in general. Again, another track with melancholia but enveloped in 80s pop and 90s American Indie, so an example would be the kind of music associated with Pavement. There is also that tinny drum machine featured at the beginning of the record with Dave’s stomping drums to save the percussion element. Who wants to listen to a cheap drum machine without an actual drummer? This song is already featured in the band’s encores of their “the Ballad of Darren” tour, which shows that this track is already on its way to becoming a Blur classic.

Goodbye Albert:

Graham’s axemanship shines through as he blends aggressive with tender playing through the use of the pedal effects, so there is a lot of distortion. Alex hasn’t gone for his rapid playing on this, but rather a sense of delicacy with the bass. The lyrics delivered by Damon are him departing from his youth and entering into a more mature yet darker side of getting older. Also, as he confessed to Zane Lowe recently, he finds it difficult to sing the early Blur songs because his vocals were more youthful then, and now his vocals are a lot more bassy as he has got older. This song may be about Damon letting go of his youthful vocals and adopting the bass vocals he has acquired with age.

Far Away Island:

Damon has done many far-out projects outwith of Blur, and this one is a Brian Eno-esque experimental track. A psychedelic track over strings, with Damon adopting the vocals of a junior school kid. Will it go down well with the fans? Why not? Brian Eno makes far-out songs, but it works. You have to look at U2’s “the Joshua Tree” as a good example.

Avalon:

As we approach the end of the record, you can sense a more upbeat vibe as ‘Avalon’ opens with horns. The track itself hints towards uplifting moments, which is briefly interrupted by the sound of fighter jets ready to engage in aerial combat. The lyrics reflect the fighter jets in aerial combat, but there is a particular sinister lyric where Damon says, ‘Then I overdo my dose, and I don’t even know I’m here anymore’, which could also mean that the fighter jets are a metaphor for one taking an overdose to end their life. However, after that verse, Damon utters the line, ‘but the glass is still half-full. As mentioned earlier, the track, on the whole, is uplifting and full of optimism, then countered with the fighter jets sample. This could well be Damon feeling in turmoil about the future. I am unsure why he would feel this, as he is among the great songwriters.

the Heights:

A nod to the late David Bowie with an acoustic guitar at the intro that sounds like David’s tenure as Ziggy Stardust and the classic ‘Space Oddity’. Damon’s vocals follow. Then, of course, the rhythm section consisting of Alex and Dave brings the uplifting element. Graham had a backseat over this Sgt Pepper’s-esque track, or their counterparts Oasis who had the Beatles-esque ‘All Around the World’. Unfortunately, although they tried to element that exquisite sound of the Beatles, or Oasis, it didn’t work. The track has far too much going on, so it sounds like a mess. The band should have finished on ‘Avalon’. Yes, it had brief melancholic moments, but the rest was bombastic and uplifting.

Overall:

I will add an overall summary because you might look at the track-by-track review and think, “Fuck that. It sounds shit”. However, that is not the case at all. Yes, it is an experimental laced with Ziggy Stardust, Brian Eno, and Pink Floyd, but that adds to the mystery of Blur. They shouldn’t be known as an Indie outfit, but that is willing to evolve, and that’s the case here. I sincerely hope the band do not call it a day after the current tour because they are working as a unit in the studio and onstage. Damon and Graham have had strong chemistry since the band reformed in 2009, and the music is better for it.

Song recommendations: ‘St Charles Square’, ‘Avalon’, ‘Far Away Island’

9/10

Week 26: Nothing but Thieves- Dead Club City

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I had heard of the name before but never listened to their tracks. A lady called Roxanne, who I speak to, is a fan. “Dead Club City” is their fourth album and the first time I listened to the band.

The record begins with the leading single, ‘Welcome to the DCC’, and straightaway, my ears prick up as I was not expecting a band with such a name to have a Jungle-esque track, let alone beginning to an album. I loved the feel-good groove to the opener; as I mentioned before, it reminded me of Jungle.

I thought this album would be all-out indie, but it is laced with disco, indie, rock and psychedelia. Elements of some of the songs had a Tame Impala feel to them. Then we have the Jungle-esque groove of ‘Keeping You Around’ and ‘Do You Love Me Yet?’. The latter has some mad guitar solo, which I unfortunately discovered was the outro, so the track fades out when the solo should have played until its conclusion. They missed a trick by not doing that.

There is even room for ballads on the record. The standout is ‘Green Eyes:: Siena’, where Conor Mason’s tender vocals accompany the acoustic. The lyrics are quite deep, too.

The album closes with ‘Pop the Balloon, an all-out assault on your ears for the majority, but then there is a complete drop in the tempo, which happens without any indication it is approaching. “Dead Club City” isn’t bad for my first introduction to the band. I know some purists may not like this diverse record, but honestly, it kept me interested, and I will now listen to more of their material in the future.

Song recommendations: ‘Do You Love Me Yet?’, ‘Welcome to the DCC’, ‘Pop the Balloon

7/10

Week 9: Gorillaz- Cracker Island

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In 1998, just as Blur were heading towards a decade of “splitting up” (Of course, they reformed in 2009), their frontman Damon Albarn got together with Jamie Hewlett to come up with the concept of a virtual reality band complete with their little realm, which contains cartoon stories within their website, and videos. After a lengthy period in Japan designing the characters, et cetera, they would name the band Gorillaz consisting of 2-D on vocals and keyboards, Murdoc Niccals on bass, Noodle on guitar, keyboards and vocals and Russel Hobbs on drums (Pretty sure the drummers is named after an electrical appliance company) The band would hail from England, except for Russel who is American.

The original voice for Russel is now the band’s producer. Musicians and comedians also voice the characters. Damon and Jamie, the only human members in the band, started with the cartoons taking centre stage during the live shows, with screens blocking the human musicians. In 2005, the humans would become visible, albeit in the guise of a silhouette. Eventually, in 2010, Damon and Jamie would come out from behind the screens and bring the human musicians to the fore. Gorillaz has remained that way ever since, with the cartoons beaming on the backdrop screens.

It might prove a little tricky for Damon to tour “Cracker Island” as he is due to go on tour with his original Blur this year, where they will play a mammoth show at EE Stadium, Wembley, and several festivals across Europe. It’s a good job his other band, the Good, the Bad and the Queen, are on a hiatus, or he would never get some rest.

Gorillaz has had past members Paula Cracker, Cyborg Noodle, and Ace among the original and present members. They may not be everyone’s cup of green tea. Still, there is no disputing they have fans across the board, from the likes of Noel Gallagher, who has collaborated with them from the generation where blur and Oasis were popular, to Billie Eilish, who is the new generation who probably know very little about Blur’s prime. Billie invited Damon onstage at Coachella last year, where she confessed she is a fan of Gorillaz and performed ‘Feel Good Inc’ with the Gorillaz co-creator.

Many believe the band lost their way until 2017, with “Humanz” being hailed as the album where they got their mojo back, and it was praised for its experimentation. Since the critical acclaim for “Humanz”, Damon and Jamie have stuck to that path of having records with versatility. You have to look at the vast array of featured artists to see this, from Noel Gallagher, Elton John, Beck, Tame Impala, Robert Smith, Georgia, Peter Hook, De La Soul, Thundercat, Sweetie Irie, and the list goes on.

After “Humanz”, they followed that up a year later with “the Now Now”, an album described as lo-fi pop. Their previous record in 2020 was “Song Machine: Series One”, which had some far-out videos that complimented the far-out music. Once the band got the chance to take it out on the road the past two years, it was warmly received by fans and festival goers.

Gorillaz has already established its name and can afford the luxury of making a record safe or risky. It is not as good as “Song Machine: Series One”, but it is a polished album of psychedelia, indie, hip-hop, shoegaze, and reggae sprinkled with the unique sound of Gorillaz. It isn’t trying to be groundbreaking or needs to be. The opener is the title track, featuring a fantastic bassist I have been a fan of since 2017, a lad called Thundercat, known for playing a six-string bass with a jazz and hip-hop-infused flavour. For the title track, Thundercat brings the funk and jazz on his six-string bass played with his fast fingers, which he is known for. I cannot wait for Damon to invite him onstage to play this. Honestly, seeing him play bass is a sight to behold.

The last paragraph got too elongated, so I am continuing with the tracks in this one. My favourite is the next one, ‘New Gold’, featuring Tame Impala. This is quite psychedelic, and Kevin Parker brings a catchy chorus while Damon sings the verses. My only complaint with the record is that it needs to be longer, with a runtime of just over 37 minutes, which limits the number of guests. I was surprised to see Fleetwood Mac’s Stevie Nicks feature, but in all honesty, should I be? Gorillaz is known for obscure guests. Her appearance on ‘Oil’ synchronises with Damon’s vocals.

There is a surprise along the way with an element of Latin music on ‘Tormenta’; even the title adopts that. The track features Bad Bunny, who raps along in Spanish about how complicated love can be. The album is neither here nor there regarding structure. It is spontaneous. All the band cared about was making a polished, enjoyable album for both them and the listener. After hearing their records, you can see why they pull in the crowds on tour and at festivals. The band have always had a following, but towards the beginning, quite a majority, be it listeners or their peers, saw the band as a joke and novelty act, but fast forward to 2010 onwards, and the listeners and their peers could see that Damon and Jamie were fucking serious and professional about the band. They have worked with gospel choirs, strings and many well-known artists. Some of them doubted them in the early days and dismissed their professionalism. 

I found it a pleasing listen, and in a way, I was surprised by the production because I was expecting an album in the same vein as “Song Machine: Series One”. Instead, you get an eclectic range, and most surprising was shoe gaze, synonymous with Ride and Slowdive. The record closes with ‘Possession Island’ with Damon on mellotron and the brilliant Beck singing tenderly. We don’t hear his falsetto, but you listen to him sing melancholy sublimely.

Song recommendations: ‘New Gold’, ‘Cracker Island’, ‘Possession Island’

8/10

Week 15: Wet Leg- Wet Leg

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Yes, I know it is yet another cliché moment. I DID discover Wet Leg while watching Later…with Jools Holland in November last year. 

They performed their famous hit ‘Chaise Longue’, which I found extremely funny for its lyrical content, but I also loved its raw, punky sound, and the ladies singing had those typical punk vocals.

The duo hails from the Isle of Wight and consists of Rhian Teasdale and Hester Chambers. Of course, other members feature on the album, but they are regarded as session musicians and touring members. 

Going back to ‘Chaise Longue’, it was refreshing to hear a track that wasn’t by some fucking idiot who has no business in music just because their song went viral on TikTok because of some shit dance craze. ‘Chaise Longue’ is known for its bassline and guitar riffs instrumental-wise, but the lyrics are delivered with deadpan by leading vocalist and guitarist Rhian taking quotes from the film Mean Girls. Like I said earlier, I found some of the lyrics quite funny, especially the one about going to school and not learning anything but having sex (Listen to the song. You know what I mean.). The chorus wasn’t that great, with “On the Chaise Longue” repeated throughout, but somehow, it becomes a catchy hook that adds to the track.

I then listened to the band via live performances on YouTube during the earlier part of this year, and I was highly impressed by what I heard. The songs are short, but whereas some might describe them as Indie, they have more of the punk spirit. Funnily enough, I felt like I was listening to Amyl and the Sniffers sans the Australian accents.

I saw a tweet from the duo saying their self-titled debut was about to go to number one, and I was delighted to hear what the album sounded like. Unfortunately, I didn’t have to listen much because I had already heard the songs featured on their promotional tour. However, I checked out the streaming figures on Spotify and was amazed that they had amassed 13 million streams! I could not believe just how widespread this duo was when most of the videos on YouTube were them playing in dinghy bars and pubs. Although they have yet to do any significant events or play at big venues, they have done the Late night chat shows in America and were voted runners-up in the BBC Sounds of 2022 poll. Because of ‘Chaise Longue’, many will say that Wet Leg might not be more than just a fleeting moment. However, I disagree with them. The duo have other songs in their arsenal. Okay, they might be on the same level sonically and lyrically, but it is more than just one hit.

Okay, I may have gone overboard saying they are punk. They are like a soft version of punk. You can’t even say they are pop-punk because they sound nothing like bands like Green Day. They remind me of Lush, who were around in the 90s (If you can’t remember, there are videos of their performance of ‘Lady Killers’ on the short-lived Channel 4 show, the White Room. They have that same element of punk. I wouldn’t call them energetic rebellion as I have done for IDLES or shame. Staying with punk, their producer for the debut happens to be Dan Carey, who has produced for Fontaines DC, no less. You’re always onto a winner when Dan is involved. I recommend it if you have yet to hear Fontaines DC’s first two albums. The only difference between Wet Leg and Lush, I will even throw in Shampoo (Remember ‘Trouble’?) into the mix, is that the lyrical content is more based on 21st-century themes. 

For example, ‘Being in Love’ over punky guitars turns to delicate strumming as the song changes the subject mood. So, the music goes from, I imagine, Rhian/Hester or both being infatuated to them suffering from anxiety about the possibility of being hurt. The second example is ‘Too Late Now’, which, funnily enough, closes the album, whereas ‘Being in Love’ started it. This time, however, the girls feel alone and fret about missing out on opportunities. There is even a breakdown in the track where Rhian says, “I’m not sure if this is a song/I don’t even know what I’m saying/I’m not sure if this is the kind of life that I saw myself living” Now, I am not sure if she is talking about that music wasn’t the planned destination of her career, but it is powerful nonetheless.

You then have the psychedelic element on ‘Don’t Wanna Go Out’, like David Bowie’s ‘Hallo Spaceboy’.Although, Rhian talks about being in their late 20s and still living it up. ‘Angelica’ is about a girl at a party who thoroughly hates the idea of being there, and ‘Oh No’ seems to be about an individual trying to control a panic attack.

There are, of course, the punk tracks, which I mentioned earlier (Not the tracks. The element.) ‘Supermarket’ made me laugh because who hasn’t been stoned while shopping in one? Especially when you got the munchies. Then there is ‘Wet Dream’. That one doesn’t need a genius to work out the theme. Songs like these are more sinister than ‘Chaise Longue’, but their wit remains. One line that made me laugh on ‘Loving You’ was “I hope you choke on your girlfriend”. 

I also have to big up ‘Ur Mum’ just for the title alone, but the song is hilarious and reminds me of when I was young and using it as a light-hearted insult. That was my favourite, and it has been my favourite since I watched them perform a whole set via YouTube. 

I loved their debut. Okay, I didn’t have to listen to much of it because I had heard most of the songs performed live before its release. But it is an enjoyable, witty, sarcastic, punky record. The only qualm for me is that it needed to be longer.

Song recommendations: ‘Ur Mum’, ‘Supermarket’, ‘Loving You’

8/10

Week 6: Bastille- Give Me the Future

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This is a band I heard initially without even knowing who they were. I only knew once I saw them appear on Later…withJools Holland back in 2013 (I think.). Before then, I didn’t know much about them, and the songs I had heard without knowing who they were neither excited nor annoyed me. I remember Noel Gallagher said, “If Bastille had been around in the 90s, they would have been finished.”…now, I like Noel Gallagher, as regular readers know, but although it probably would have been true with the music around back then, I quite like Bastille. My opinion of Dan Smith and company changed after seeing them at Glastonbury, reading about them, and watching a few concerts on YouTube. Dan knows how to work with the audience, and they put on a great show. ‘Pompeii’ used to drive me around the bend, but that grew on me. I am often caught whistling or singing the chorus when I hear it.

“Give Me the Future” is their latest and fourth album, which has already amassed five singles. That is just below half of the record itself. Once again, Bastille plays it safe (Sort of.)with their usual songs, but there are some elements of new creativity. For example, the opening track ‘Distorted Light Beam’ takes some influences from the defunct French Houseoutfit Daft Punk, which is quite apt due to the band’s name. 

According to reports, Dan Smith began embarking on this album before the pandemic started and flirted with the idea of combining Bastille’s sound with elements of futuristic sounds. At the same time, you could argue that it takes something from the 80s. However, due to what has happened since 2020 or late 2019, Dan’s idea of this record has seen fact and fiction become convoluted, to say the least. Everything we believed to be fiction through music might be a reality now. At the moment, no one within any industry knows what is inevitable. We have seen the world shut down during these testing times despite it still spinning. Immense industries have seen companies and businesses suffer or fall, and music artists like Bastille suffered heavily because they could no longer go on tour worldwide. Some music artists signed just before the pandemic or after suffered even more. So, at the moment, it is no surprise a fair chunk of people look at the future with caution in mind. In “Give Me the Future”, Bastille takes all of that away and looks to embrace whatever happens in the future.

As usual, the band set the stall out with their dancefloor fillers to give the listener a chance to escape from what was happening and lose themselves as they mentally picture themselves enjoying life in the club again. We are gradually getting back tothose days and nights, but listening to music that propels us back to those feelings is excellent. Bastille have always beenknown for their hard-hitting subjects shrouded in upbeat instrumentation, and they have done just that yet again. The lyrics are pretty dark, but the instrumentation diverts your attention. For example, in the Daft Punk-Esque opener ‘Distorted Light Beam,’ Dan says, ‘It isn’t enough, if this is real life, I’ll stick to dreaming, come see what I see.’ That is powerful. No one can deny that that lyric reverberates the current feelings the majority of us have. I’d rather escape from the trappings of reality and stay in a dream just for my sanity. My standout has to be ‘Promises’, which is Spoken Word performed by Riz Ahmed over strings and other instrumentation. Why ‘Promises’? I am a spoken word artist, so for that reason alone. I love to hear what poets have to say. Of course, I like other tracks on the album, like ‘No Bad Days’, the title track, and ‘Future Holds’. The latter features Bim, who you will be familiar with if you attend Bastille concerts. Her rich vocals complement Dan’s on the uplifting closer with a message of hope about who cares about the future as long as we all have someone to love and care for us.


The album is also structured cleverly. The listener goes on an adventure where they will be lost but find themselves again. Now, this could be explained by Dan’s love of cinema. He wants the songs to be a cinematic experience rather than music-related. I only know a few bands or artists that use the method. Most tell a story, but not in this manner. I can only think of Clannad or London Grammar in recent times. “Give Me the Future” wasn’t made to pick out tracks and listen randomly, but to listen from start to finish due to the cinematic nature. 


Yes, you can listen to any tracks you like. I mean, that’s your choice, but it takes away the premise of the record. Is it their best? Well, it’s up there. Although, it is bloody short for a Long Play. The longest is the title track at 3:39. One thing I will say is, going back to “is it their best?” is that it is incredibly creative, and they have moved with that but have still kept that distinct sound we associate with the band. So, they have yet to complete 360 and lose their identity.


It’s pleasant to listen to an album that gives you hope about the future rather than being bogged down and depressed by the shit we are surrounded by. The record is uplifting and sends you off into a dream. 

The attitude adopted by Bastille is one of “Fuck it. Let’s have fun while the world is falling apart”.




Song recommendations: ‘Promises’, ‘Give Me the Future’, ‘Distorted Light Beam’




8/10

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