I, like many, have been looking forward to the return of Stereophonics after frontman and chief songwriter Kelly Jone explored a different creative avenue with Far from Saints. The burning question was, which direction would the band explore? Well, their new album, “Make Em Laugh, Make Em Cry, Make Em Wait” was recorded in the legendary halls of Stylus, RAK, and Metropolis studios in London, promising something original as they returned to recording together.
It was surprising that they returned with a record consisting of eight tracks, which is quite short for a long play, and therefore, it created a little apprehension. Would these eight tracks feature the explosive energy we have become accustomed to from the Welsh rockers? (I say Welsh Argentinians are also in the band.) To put it bluntly, the answer is a nuanced album.
While it has fleeting moments reminiscent of anthems such as ‘Bartender and the Thief’, the record takes a bold departure from Phonics’ previous styles. It leans more towards an introspective and subdued version, a shift that may intrigue and challenge listeners. It embraces the melancholic beauty of tracks like ‘Maybe Tomorrow’. This unexpected direction may not align with people’s initial expectations, but it certainly opens the door to a new, open-minded listening experience.
However, every cloud has a silver lining, which can be found in Kelly Jones’s songwriting prowess. The slower tempos and stripped-back arrangements allow his storytelling to shine. His trademark gravelly vocals, with a lifetime of experience, cut through the instrumentation, showing his more fragile side that commands your attention. Kelly is one of the great songwriters of our time, and through this album, you can appreciate his craft.
What “Make Em Laugh, Make Em Cry, Make Em Wait” lacks in raucous energy; it more than makes up for with its profound lyrical depth and emotional resonance. While some fans may have been hoping for the band’s explosive, more vintage tone and might be surprised by the subdued pace, those with a more open-minded approach will find solace in the album’s introspective sound. This record may not be filled with the stadium-rocking anthems we were all expecting, but it’s a testament to Kelly’s enduring talent and the band’s emotional journey. After a few listens, the record grows on you, offering a glimpse into the heart and mind of one of the top Welsh songwriters.
Song recommendations: ‘Colours of October’, ‘Backroom Boys’, ‘Mary is a Singer’
Those Damn Crows are often compared to Black Stone Cherry, but as you’ll see, I have a different perspective. The band from Bridgend, Wales, is making waves in the industry, particularly in America, where they’ve shared the stage with Queens of the Stone Age and Hollywood Vampires. Their sound has evolved significantly, influenced by these experiences, and their performances have become more polished. You might not have been familiar with this Welsh outfit until now, but this is actually their fifth album. The record delves into the personal journey that frontman Shane Greenhall has been on over the past year, a journey that has undoubtedly shaped their music.
Shane touches on searching for something that cannot be touched on tracks like ‘The Night Train’ and ‘I’ve Always been Unstable’. He is also apologetic on ‘Glass Heart’, which resembles power rock from the 80s. ‘Dancing with the Enemy’ is the opener and is reminiscent of Alice in Chain’s ‘Man in the Box’ during the chorus. The song itself is quite political and suggests we deserve to know the truth. Many songs ask questions about the world over: Biffy Clyro, Enter Shikari, and Bring Me the Horizon-style music.
Only a few songs had that classic Black Stone Cherry mark in ‘Dreaming’ and the closer ‘Still’. I failed to see the blues connection anywhere else on the album. ‘Let’s Go Psycho!’ features rapid guitar shredding with rapping, a bold departure from the band’s usual style. ‘No Surrender’ introduces driving drums, adding a new dynamic to their sound. ‘Turn it Around’ delves into the metal genre, and ‘Spit & Choke’ features fast bass playing over Queens of the Stone Age-esque music, showcasing the band’s versatility and ability to experiment with different styles.
While the band is primarily associated with commercial metal, they show a promising potential to explore other genres. Their track ‘Still’ is a testament to this, resembling the tender acoustic style of Black Stone Cherry. As a recent listener, I’m excited to see what the future holds for this band after their first commercially successful album.
Song recommendations: ‘Dancing with the Enemy’, ‘Let’s Go Psycho!’, ‘Dreaming’
One of the most admirable qualities of Sam Fender is his courage to speak up for the working class in the music industry. He fearlessly calls out the industry for not doing enough to support musicians from working-class backgrounds. His outspokenness is a testament to his advocacy and determination. I share his views, and I believe Sam is one of the most authentic and relatable musicians out there. He remains true to his roots and takes pride in them.
So far, all his albums have reached the top spot with his Springsteen-esque songs. “People Watching” makes that a hat trick. The record still has elements of “Hypersonic Missiles” and “Seventeen Going Under”; however, this time, he isn’t autobiographical but looking at other people around him and incorporating their stories into his songs. A tactic used by many a songwriter and poet. One of these includes a rather unwell friend. He also forms stories about people in the gym or those sleeping rough, making this an interesting listen. The album features a diverse range of themes, from personal struggles to societal issues, making it a compelling and thought-provoking listen. At the same time, the Geordie Bruce Springsteen delivers electric guitars with acoustic with the familiarity of the saxophone—all the ingredients of his American idol.
Although Sam may be talking about others on the album, he finds a way to express how he feels about those particular themes. Social commentary, if you will. ‘Crumbling Empire’ is the most poignant, where he attacks the state of the world, comparing it to Newcastle, where various governments have let the people down. He mentions his mum working as a midwife to drive this point home. He acknowledges, after seeing his hometown falling apart, that he may not live the life he did, but he is thankful music worked out because he knows the life he had could be a lot worse than it was before he shot to fame.
‘TV Dinner is a departure from Sam’s usual style, reminiscent of Hozier’s ‘Take Me to Church’ not in its structure, but in its sound. The song features a long verse and a short chorus, with the final chorus serving as a long outro. This structure, combined with the song’s powerful vocals and emotive lyrics, evokes the same raw energy found in Hozier’s work. As mentioned in the first paragraph about criticising the industry, this song addresses how they build artists into idols and then stand aside when their flaws come to the surface. He particularly addresses the late Amy Winehouse as an example. He isn’t afraid to say how he has been treated himself. Referring to them treating him as a cash cow, he has decided to do as he pleases from here on rather than appease the industry. Sam also discusses the controversial and complex subject of religion and whether we can abide by our religion and genuinely live life according to the ways of the church on ‘Little Bit Closer’. Now, from listening, I gather Sam is an atheist because, during the bridge, he asks, “What is God?” and goes on to say he hasn’t found God yet, although he has had moments where he has been close to seeing why people believe in God and are part of the church.
Another unusual track is ‘Remember My Name’, a piano ballad dedicated to his late grandparents. Usually, a record concludes with a bombastic track, but Sam has opted for a slower tempo. It is quite dark talking about how his grandmother had dementia and was looked after by his grandfather. His thoughtful and caring grandfather would speak to his grandmother to help her remember things. The raw emotion in Sam’s vocals adds to the story’s effect. Sam may not be speaking from personal experience, but as frequently done on this album, he puts himself in their shoes. Granted, what “People Watching” lacks sonically with the same old tried and tested method, it makes up for with the lyrical content and how Sam can observe people, listen to conversations and structure from there. He has spoken about other people in his previous records, but never to this extent. This is his Kelly Jones moment, a reference to the lead singer of Stereophonics, known for his observational storytelling.
Song recommendations: ‘Crumbling Empire’, ‘TV Dinner’, ‘Remember My Name’
As you can see from the front cover, it bears a striking resemblance to the 1997 album “Life Thru a Lens”, with Robbie surrounded by the paparazzi and a shaven head. However, the ‘Better Man ‘ cover, named after one of his songs, features a unique twist-a CGI monkey in place of the human Robbie. The monkey also plays Robbie in the film. The album also features a range of special guests , including Carter J Murphy, actor Steve Pemberton, who plays Robbie’s dad, Tom Bales, Kayleigh McKnight, and Adam Tucker, who provides the vocals for Robbie’s earlier material. The reimagined songs, featuring an orchestra and shortened for the soundtrack, also include the man himself. Now, let’s move on to the track-by-track review:
Feel featuring Carter J Murphy & Steve Pemberton:
The song undergoes a transformative journey in the reimagined version . It evolves into a duet, with Carter and Steve stepping into the roles of a young Robbie and his father. As the melancholic melody unfolds, Robbie’s presence is felt, adding a poignant layer to the song. This transformation adds a new dimension to the original version, making it a compelling listen.
I Found Heaven featuring Tom Bales & Adam Tucker:
The original song , one of the very first by Take That, the boyband that launched Robbie’s career, is a quintessential 90s pop with a club element. Adam Tucker’s vocals, reminiscent of a young Robbie , are so similar that it’s often a delightful challenge to tell them apart. This similarity adds an intriguing layer to the performance, engaging the audience in a unique listening experience.
Rock DJ:
I didn’t mind this song when it first came out in the summer of 2000, but it got overplayed and, therefore, saturated. I grew to hate it for its cheesiness. The new version hasn’t changed my opinion.
Relight My Fire featuring Tom Bales & Adam Tucker:
I never liked the original version with Lulu of this poppy dance track, and I still don’t.
Come Undone:
I still need to know how Tupac Shakur inspired this song. Anyway, I liked this one for its lyrical content and the story Robbie foretells. The song tells the story of his dealing with instant fame, his father leaving home, self-loathing, and drug addiction.
She’s the One featuring Adam Tucker & Kayleigh McKnight:
As you’re familiar, this was a cover of the World Party song, a rendition that stirred the late Karl Wallinger’s animosity towards Robbie. Adam, with his heartfelt vocals, is joined by Kayleigh, who embodies All Saints member Nicole Appleton in the film . Together, they bring to life this romantic ballad.
Something Beautiful:
I still do not like it, but I understand now that the song is about Nicole aborting his child. So, instead of this song being pop, the uptempo conceals a darker meaning found within the lyrics.
Land of 1000 Dances featuring Adam Tucker:
This track features a repetitive chorus, blaring drums, and a brass section. The orchestra shines through as the vocals reveal the sense of overwhelmingness that Robbie experienced on his way up.
Angels featuring Adam Tucker:
I have always loved this song, and if you say you do not, then you are a fucking liar. It is a heartfelt ballad with a sweet guitar solo. It isn’t a patch on the original, but the soaring orchestra is used to great effect and represents how Robbie was mourning for his Gran and then how his emotions boiled over, which led to him going off the rails and turning to drugs and alcohol to escape the trappings of fame.
Let Me Entertain You featuring Adam Tucker:
One of his anthems that always gets the crowd in the mood, with its rock n roll element and a sublime brass section. This version replicates the live version of the iconic and record-breaking Knebworth Park gigs in 2003. Need I say anymore?
Better Man featuring Adam Tucker:
From the rock-n-roll anthem of the previous track to a more downtempo one, this track showcases the artist’s growth and introspection while he was checked in at the Priory to battle his demons and addictions . I have always loved this track for its reflective lyrics and the mature delivery in the vocals.
My Way featuring Adam Tucker & Steve Pemberton:
Another track that replicates a live performance, this time from Robbie’s swing concert at the Royal Albert Hall in 2001. Robbie dedicated it to his parents in the venue. Unlike in the film, Steve, who depicts Robbie’s father, joins him onstage. Steve can certainly sing, and in a way, this version is just as good.
Forbidden Road:
The final track was written specifically for the film and is used for the end credits. It is an acoustic ballad with reflective lyrics about Robbie’s journey so far. It is certainly not deserving of the end credits, where most people lose interest and leave the room/cinema.
Song recommendations: Angels, She’s the One, Forbidden Road
This review will be all over the place, so bear with me. As you may know, the Blu-ray/Dolby Atmos edition of Elton John’s 2017 album “Diamonds” was released a few days after New Year’s Day, and on the back of it, he displaced his very good friend and Rocket Entertainment Artist Ed Sheeran at the top of the album chart.
So, what’s the standout feature of this edition? It’s the 48 tracks, this time in a different order than its previous editions . But the real game-changer is the significantly enhanced sound quality, especially on the tracks recorded on analogue from the 70s to the 90s. You’ll notice a marked difference in the sound of songs from that period, with a reduction in distortion and crackling, particularly in the studio recordings pre-1980s. The Dolby Atmos experience, as I’ve previously highlighted in the Oasis “Definitely Maybe” 30th-anniversary reissue and Ed Sheeran’s “Mathematics Tour Collection”, is truly exceptional. The investment in an album in Dolby Atmos is truly worth it for the quality of the output.
For example, take a listen to songs like ‘Rocket Man (I Think It’s Going to be a Long, Long Time’, ‘Daniel’, ‘Bennie and the Jets’ and ‘The Bitch is Back’, and you will notice that the crackle has been removed. So you can enjoy those songs from his early years without them being ruined by the crackle or pop.
The same goes for the early tracks. Because the crackle or pop has been removed, the listening experience is more enjoyable, and you can appreciate young Elton’s wizardry.
Unfortunately, Dolby Atmos did not work well with ‘Saturday Night’s Alright (For Fighting)’. For some reason, it sounded awful.
I was also disappointed with the mixes of the later material, but it is hard to remaster what already is close to perfection sonically. They do not require much touching up, so they don’t sound much different from the originals compared to the early material.
If you didn’t know, the 48 tracks combine his greatest hits, best b-sides, non-album singles, best live tracks and from “The Lockdown Sessions”. You are not listening to anything fresh, albeit a new perspective on his earlier recordings, which have finally eradicated the crackle or pop. The enhanced sound quality, thanks to Dolby Atmos, brings a new life to these older recordings, making them a joy to listen to. Once again, I will be doing the songs to avoid because, as you can imagine, this record is full of too many gems to break down into just three tracks. I cannot do that because apart from ’Saturday Night’s Alright (For Fighting), even some of the earlier songs I am not fond of sound great with Dolby Atmos.
Recommended: Listening to the earlier songs remastered with Dolby Atmos
Ed’s “Mathematics Tour Collection” was released in the late summer of last year. Still, I am unsure of what I should be reviewing, so I have reviewed the latest edition of the album that was included in the standard edition towards the end of last month, which is a live version. I am not particularly sure if the songs are from random shows or just one particular show. Apparently, the live version was recorded via Ed’s in-ear monitor. I will get on a bit later about why I believe I do not find that to be the truth
After a two-year tour, which is set to continue into the current year, the fans, known as “Sheerios”, were eagerly awaiting a live version of the compilation. Finally, as mentioned earlier, the live album arrived towards the end of last month , boasting a massive 26 songs . It’s a mammoth listen , but one that’s as good as all his shows. I was lucky enough to see him at His Master’s Voice Hatfield Forum in October 2011 during his debut “Red” tour , an experience I’ve already shared in my first review of his material.
Despite being live, the mix has been produced to make it smoother than it usually is in a live setting. I enjoyed most of the songs performed. Of course, there were songs like ‘Sing’ and ‘Bad Habits’, which I do not, but I gave them a chance. They are better than their studio counterparts.
Back to earlier with the in-ear monitor, I heard that the sing-alongs were not evident, but I found that nonsense. I could hear his biggest hits sung by the crowd and Ed participating in crowd participation. It didn’t sound like they used an in-ear monitor for those tracks because I could hear everything crystal clear. You wouldn’t get that from a monitor because you hear what every member of the band is doing. You will notice most musicians take their monitors out during crowd interaction, or they would only hear muffling.
Get ready for an immersive journey because this review is going to be a deep dive. I tuned in to this album via his official YouTube channel, but the ultimate digital experience is the one mixed with Dolby Atmos. If you haven’t tried it yet, it’s like being right there in the studio or at the show. This technology is so powerful that it might even overshadow physical CD versions, which currently can’t match its immersive quality. Just like at his live shows, the opener is ‘Tides’.
I love ‘Tides’. It’s a full-on rock anthem, and it’s clear why it’s chosen as an opener. It’s a real crowd-pleaser, and I can only imagine the electrifying atmosphere it creates in a stadium. Despite not being one of his popular tracks, I’m certain that after this tour and the release of the live edition, it’ll gain a strong following and become a fan favourite. I was personally captivated by its rock attitude and enjoyed it thoroughly.
Does Ed’s music resonate more with his loop pedal or with a band? The answer is in your hands. For me, it’s a matter of the venue. I find his solo performances more intimate in an arena or open air, while the grandeur of a stadium is best complemented by a band. Imagine ‘Tides’ without a band in a stadium-it’s a rock anthem that thrives on the depth and fullness a band brings.
After that barnstorming opener, the tempo drops with ‘Blow’. Ed still puts his heart and soul into it to win the crowd/listener over.
‘Castle on the Hill’ follows, and it sounds amazing live, especially in a stadium. Live is where it is at for me. Studio recordings can never capture that magic in a bottle. Again, this track would be flat without a full band.
Now, usually with Ed’s live albums, they fuck up how he uses the loop pedal, and your mood can drop while Ed sets it up for the song.
However, on ‘Shivers’, which follows ‘Castle on the Hill’, they have cut out all the fannying around, and the track begins as he has almost finished setting up, so you are still riding from the high of the previous track.
Of course, some Sheerios will not like the idea of not seeing him set up the loop pedal with his various sequences and layers, especially on the final track, ‘Bad Habits,’ but the producers have to think of all the listeners and how to keep the momentum.
The live version includes all his songs, such as ‘The A-Team’, ‘Lego House’, ‘Give Me Love’, et cetera. You cannot please everyone with the listings, but that’s how the dice rolls.
I mentioned in my review of “Divide” that ‘Dive’ is a heart-wrencher, but Ed sings it subliminally live. Knowing the personal meaning behind it makes it even more of a standout because he manages to keep his emotions in check.
Tracks like ‘The A-Team’ and ‘Lego House’ from his debut “+” remain timeless and still are live favourites.
‘Overpass Graffiti’ was performed the correct way live to bring the rhythm section to life. Ed with just a loop pedal wouldn’t have given it justice.
One of the main sticking points is crowd participation, with some arguing it’s difficult to hear the crowd. However, I personally disagree; I can hear them loud and clear. Perhaps I’ve just been lucky to have the volume set at the perfect level. To gain a broader perspective, I’m eager to hear from a Sheerio who was at one of these shows.
My one flaw with the live tracks is the remastering of them. I would rather hear all the imperfections, and the rawness you experience at the shows. Now, I am not saying include the soundboard(they sound terrible when you listen back), but smooth it over just enough to keep that live feel.
Hopefully, any of the flaws can be corrected in a live film version, which surely has to be inevitable to celebrate a tour of this magnitude.
Of course, my absolute favourite will probably always be ‘You Need Me, I Don’t Need You,’ and it hasn’t changed after listening to it on this tour. The delivery, the flow, and the lyricism have always been top-class on this. Now, I am going to hopefully do this once this year; who knows? I am going to pick tracks you should avoid because there were far too many excellent tracks.
When I was in college, back in the early-2000s, people listened to Linkin Park a lot: them and Papa Roach. I didn’t get into the band until the 2010s and could appreciate the late Chester Bennington’s vocal range. I was young and naïve, so I saw him as “The singer who screams down the microphone”. When I listened to the band properly, I grew to appreciate their lyrics and, as mentioned, Chester’s singing. As we all know, Chester passed on over seven years ago. Whether you believe in the narrative or conspiracy theories is another thing. I have more than shared my opinion on Chester’s passing among friends and social media. I will leave my opinions aside for the review. The band has had various guest vocalists since his passing while they have performed and finally settled on former Dead Sara vocalist Emily Armstrong, who has proved a hit with the fans during the live shows. She joins with co-vocalist/rapper Mike Shinoda and new drummer Colin Brittain. Although Emily proved to be a hit when the band performed live, the reaction to her taking Chester’s place was mixed. I believe his estate was none too pleased with this decision. I wasn’t sure at first because this is like Metallica without James Hetfield or Lars Ulrich. It usually ends in a disaster because it isn’t the same without the heartbeat. I can understand people’s reservations about Emily becoming a full member, but to me, she reminds me of a female version of Chester.
I hope she is given time to grow. She is a fantastic vocalist, but it is hard to see past Chester’s legacy. Should the band have packed up and started a new project? Hmmm…I don’t know. It probably would have been a better idea, but the band’s decision to carry on is one that we, as fans and critics, should understand and respect. It’s not an easy path, but it’s one they’ve chosen to take.
What I’ve noticed about “From Zero’ is, well, nothing. This sounds like the Linkin Park we all know and love. The only difference is a female taking over vocal duties. It hasn’t tread any new ground, but is now really the time to be experimental? I’d say no. They need to stick to a tried and tested formula while they make this transition. And it’s crucial for us, the fans, to be a part of this journey. It also needs to be this way to see how people react to hearing the first album without Chester. Unfortunately, this record will always be based on what it was then and what it is now.
My highlights were ‘IGYEIH’, ‘Over Each Other’, and ‘Good Things Go’. Emily especially stands out with her angst-ridden vocals. As for the rest, my concentration wavered, and I felt they lacked that energy I usually see from the band. The majority of the tracks are too short. They don’t get a chance to get going before they are over. This album might be ideal for those with a short attention span, but I personally prefer a record that keeps my interest with longer, more elaborate songs, with at least 4-5 verses.
I wanted to like this album, and I have listened to it a few times, but I can’t get into it. Yes, it treads familiar ground, but the tracks are far too short, as mentioned. I don’t want to hear songs that are ideal for TikTok. I prefer longer songs that have more substance.
I’m afraid I will have to give “From Zero’ a low mark. It just doesn’t do it for me and has nothing to do with Emily. I thought she was excellent. Despite that, those who review it will all be guilty of measuring it against the former guise of the band, and I am no different. It isn’t fair, but you can’t help doing it. As mentioned earlier, when a band loses such a key member, it seldom feels the same or works out. Queen probably being the only exception. I hope the band continue as Linkin Park regardless and gives everyone time to transition. Their live shows have been amazing with Emily, so I am sure this will work out. You can’t really measure them on this record. Let them be more experimental on what follows. Then, we will know if the legacy remains intact, and I believe they have the potential to do so. And on a final note, why was the album so short? It lasted almost 32 minutes. They might as well have released this over 4 EPs.
Song recommendations: ‘IGYEIH’, ‘Over Each Other’, ‘Good Things Go’
I first heard Tyler the Creator in 2011, when he did ‘Trouble on My Mind’ with Pusha T. I liked what I heard from both. Since then, I have been following Tyler’s career closely. I especially like his live shows and his on-the-bone lyrics. I enjoyed his last album, “Call Me if You Get Lost”, for his flow over great instrumentals. “Chromakopia” sounds like the previous record, but Tyler is showing more of a human side rather than the usual “I don’t give a fuck” we associate with him. The sleeve, where he wears a mask, represents this new phase in his life. He tackles various subjects, including multiple people in a relationship and how material items are more important than spiritual ones.
The opener ‘St. Chroma’ should set the tone for most of the album, but it sadly drops off badly as we reach the halfway point. He tries his best with originality on ‘Darling I’ and ‘Jude Judy’, trying to recapture the essence of 2019’s “Igor” but falls short. However, he finds that on songs like ‘Noid’ and ‘I Killed You’.Unfortunately, I found most collaborations to be lacking, with the exception of Daniel Caesar on ‘St. Chroma’, and Lola Young on ‘Like Him’. These are the only tracks with features that don’t rely on autotune. While Tyler the Creator attempts to explore more diverse themes, he seems to struggle at times. However, there’s no denying his delivery and passion. The bonus track ‘Mother’ stands out as my personal favourite. It’s a deeply personal ode to his mother, a heartfelt narrative of the trials and tribulations she’s faced. This track, more than any other, showcases Tyler’s caring nature.
Tyler is excellent, as always, with his flow and delivery. Where it falls is on the production. “Chromakopia” isn’t a bad album because Tyler makes the most of it. Although, as I have mentioned, the production isn’t all that great, the listen still flies by.
Song recommendations: ‘Mother’, ‘St. Chroma’, ‘Like Him’
The band formed in 1991 and was originally called The Rain after a Beatles b-side from their ‘Paperback Writer’ single. The band was founded in Manchester by Paul ‘Bonehead’ Arthurs (rhythm guitar), Paul ‘Guigsy’ McGuigan (bass), Tony McCarroll (drums and percussion) and Chris Hutton (lead vocalist). Chris didn’t last long and was replaced by Bonehead’s friend Liam Gallagher, who was far from impressed with the band’s name. He said they should change it to Oasis after an Inspiral Carpets poster he had in his room that was a promotional poster for their gig at Oasis Leisure Cente, Swindon. Liam’s middle brother Noel was also the roadie for Inspiral Carpets at the time. That was shortly to change. Noel was in attendance at the band’s debut gig on August 14, 1991, at Manchester’s Boardwalk, where they were at the bottom of the bill, including the Catchmen and Sweet Jesus. The band played songs written by Liam and Bonehead called ‘Take Me’, ‘Alice’ and ‘Reminisce’. Noel felt there was something in the band, even though Liam sounded like The Stone Roses frontman Ian Brown, down to Ian’s famous onstage swagger. Noel then approached the band to give his thoughts. Younger brother Liam asked him if he would like to be their manager.
Noel refused but said he would like to join the band on the condition that he would be the only songwriter and become the leader, and they were dedicated to the band, which would lead to being signed and more. The band agreed to his terms, and Noel went to work first of all by removing the songs written by Liam and Bonehead, only opting to keep ‘Take Me’. He also changed how Bonehead, Guigsy, and Tony played. He got Bonehead to play barre chords, Guigsy to play root bass notes, and Tony to play basic rhythms with the band’s amplifiers turned up to maximum to create distortion. Noel would also take up duties as lead guitarist/backing vocalist. The distorted sound gave them a raw sound that wasn’t being done at the time and gradually got them noticed, especially at King Tut’s Wah Wah Hut, Glasgow, where Alan McGee, the head of Creation, heard them after missing a train to London and went along to see one of his acts. Although ten people were inside the venue, he liked what he heard and approached Noel to see if they were signed. When Noel said “No”, he asked if he wanted a record deal. Noel casually answered, “Yeah. Alright.”
From there, as you will probably be aware, their rise went fucking stratospheric. Their first two albums, “Definitely Maybe” and ” (What’s the Story?) Morning Glory”, would reach the summit and still remain classics. They then played iconic shows like Earls Court 1995, Maine Road 1996 and Knebworth Park. They were always attracting the media’s attention with anything from controversial comments to the Gallagher brothers constant fights and arguments. The band also almost split up several times over issues ranging from poor gig performances to abandoning tours to go house hunting. Band members came and went during their prime and their transitional years. Tony McCarroll was the first to go in 1995, followed by Guigsy briefly in 1995, before returning after Scott McLeod left during the American leg of “(What’s the Story?) Morning Glory? Tour. Guigsy and Bonehead would both depart in 1999. Alan White in 2002, with his brother Steve briefly taking over, Zak Starkey in 2008, and Mike Rowe would leave as the touring keyboardist to be replaced by Kula Shaker’s Jay Darlington. The final lineup would feature Colin ‘Gem’ Archer and Ride’s Andy Bell, who joined in 1999, with Chris Sharrock becoming the drummer in 2008. I don’t really need to go in-depth into what happened at Rock en Seine, Paris, on August 29th 2009. My reviews of Liam Gallagher and Noel Gallagher’s High Flying Birds have more than covered that. The band announced, though, that they were reforming on August 27th this year, with several dates announced for the UK and Ireland leg of their “Live 25” tour, which sold out in minutes.
Further dates are set to be announced for a global tour. The brothers have also done a photo shoot with Simon Emmett this year and reconciled with each other, despite being rumoured to be kept at arm’s length when the tour starts next July. Now that’s done, let’s begin introducing “Definitely Maybe”.
“Definitely Maybe” was released 30 years ago, on August 30th 1994, and the debut album went straight in at No.1. The leading single ‘Supersonic’ released in April , while not breaking the top 20, set the stage for what was to come. Two further singles, including the rather corny ’Shakermaker’ released in June, added to the anticipation. However, it was the release of ‘Live Forever’ three weeks before “Definitely Maybe” that truly made an impact. This now timeless classic, with its optimistic lyrics and melody, was enough to convince people to buy the album. Not forgetting their electrifying promotional tour performances and the controversy surrounding the band, most notably the Gallagher brothers.
“Definitely Maybe” was different from what was on the album chart. It was raw, loud, choc full of lyrics about optimism, and had a punk spirit. Many have labelled the record indie, but I feel it is more punk than anything. The album has no heirs and graces; It is unapologetically loud and in-your-face. A stark contrast to the clean sing-a-longs Blur used for “Parklife”. However, “Definitely Maybe” almost didn’t happen. They booked in Monnow Valley, Wales, in 1993, a time when the music scene was dominated by grunge. Oasis were about to record something completely against the grain. But for some reason, they couldn’t find the energy needed to match Noel’s expectations. They binned off recording there. Noel was utterly unsatisfied. The producer, Dave Batchelor, was a casualty because of this. They then tried again at Sawmills, Cornwall, in January 1994. Recording as if they were performing a gig, with Mark Coyle and Noel producing. Noel was again disillusioned and contacted Alan McGee, saying the album wouldn’t happen. Alan had other ideas, and as he invested a lot of time and money into Oasis, you could see why he took action. Alan hastily contacted engineer and producer Owen Morris. He would get straight to by re-recording some of Liam’s vocals, making Tony’s drum sound more punchy, and removing Noel’s excessive guitar layers.
Owen’s changes would bear fruit, and the guitars and drums were aligned with what Noel wanted. However, apart from Owen saving the day by mixing it at Johnny Marr’s Manchester studio, no one can deny it was the great songwriting of Noel Gallagher that was the real magic behind the songs. He had and does have this knack for writing songs with basic chords, catchy choruses, and meaningful lyrics that are not necessarily poetic but incredibly effective. His lyrics have a way of resonating with the listener, and his melodies draw your attention. You have to see ‘Rock n Roll Star’, ‘Live Forever’, and ’Supersonic’ from the album as evidence.
The band was inspired by The Beatles, The Jam, The Sex Pistols, and cheekily lifted the ‘Bang a Gong (Get it on)’ riff by T. Rex for ‘Cigarettes & Alcohol’ while recording. I have heard many slurs that the band is an inferior version of The Beatles, but I do not share this view and see many of Noel’s influences in the music. “Definitely Maybe”, for me, is more Sex Pistols leaning. I have had many debates about that, but for me, it just is; it embodies the whole punk sound. Now on its 30th anniversary, the record has been released in spatial audio with Dolby Atmos, and if you thought the record sounded great in 1994 or when it was remastered, then this will fucking blow you away. It is beyond amazing. The 30th-anniversary edition also contains:
The original Monnow Valley recordings.
Outtakes from Sawmills.
A Liam on vocals demo of ’Sad Song’.
Now, let’s get on with what you really want. The track-by-track review:
Rock n Roll Star:
Right from the start, it’s a burst of energy. The lyrics echo our deepest desires, and the music whisks us away from the daily grind, offering a comforting respite from life’s challenges. It’s always been a personal favourite, whether I’m listening to the record or experiencing it live.
Shakermaker:
I’m not a particular fan of this one. It is corny, yet at the same time, has a certain charm to it. It is also lifted from the 1971 Coca-Cola jingle I’d Like to Teach the World to Sing (In Perfect Harmony). Here is a little fact: Nowaysis covered both versions. The song is also inspired by elements taken from Noel’s listening preferences- you have “Plasticine” from The Beatles, “Mr Clean” from The Jam and “Mr. Soft” from Cockney Rebel. He also references his local Mancunian record shop, Mr.Sifter. When the band perform this live, they occasionally include an extra verse with the Coca-Cola jingle. Noel was cheeky in how many references he used in this song and was fortunate not to be sued by more than just Coca-Cola Schweppes.
Live Forever:
I absolutely adore this song. It is without hesitation my favourite Oasis song. The lyrics are about wanting to live forever to counter the dark lyrics of the late Kurt Cobain during that period. And who doesn’t want to live forever? In the case of Oasis, they will. They are immortalised with songs like this. This track was the catalyst that led me to pick up the guitar and start writing. While everyone wanted to be Liam, I wanted to be Noel. That guitar solo still sends a shiver down my spine. It may not be the most intricate, but it sold learning to play for me. I feel sorry for Tony, though. In the obligatory video, he is buried before rising again after the guitar rings out. Was this subtle to say he was going to be sacked?
Up in the Sky:
Liam’s vocals are superb, matching the tempo of Noel’s riff. Hearing this live is exactly the same as the studio version. Although, Liam might change the lyrics occasionally.
Columbia:
The track started as an instrumental jam before the lyrics were finally added. The surreal lyrics and sound effects match the psychedelic feel. It’s another personal favourite of mine.
Supersonic:
Noel claims to have written this in ten minutes during the sessions, and a dog called Elsa was present, which led to one of the lyrics. Although I enjoy this from the opening drums, I prefer the live version. Noel goes on a mad one and does an extended outro with a blistering guitar solo. Experiencing this one live is something special. I am still dumbfounded how it didn’t break the top 20 upon its release. It’s a timeless piece of music that we can all appreciate.
Bring it on Down:
This one is definitely punk. You can hear The Sex Pistols. It reminds me a bit of their b-side (Also features on “The Masterplan”) ‘Headshrinker’ without the riff from ’Saturday Night’s Alright (For Fighting)’ being partially lifted. It is just raw, from the guitars down to Liam’s snarling vocals. At one point, I believe he is singing into a megaphone. It certainly is that effect, at least. Tony originally wasn’t grasping this tempo, so Noel hired a session drummer, who also struggled. Then, for some reason, it all clicked for Tony. Originally, this was going to be their debut single. And let me tell you, it’s another barnstormer when performed live, full of energy and excitement.
Cigarettes & Alcohol:
Of course, the riff is lifted from T. Rex’s ‘Bang a Gong (Get it on)’ as mentioned in the introduction section. The song embodies wanting to forget about life and have it while drinking and smoking. It is just uplifting all round. Underneath all the bombastic is quite a political message, but it also says fuck it. Just live it up, drink, smoke and do cocaine. For me, the song doesn’t come alive until the outro. Liam singing that last verse with attitude and a snarl. I also like the guitar solo in the outro.
Digsy’s Dinner:
This is an ode to Noel’s friend Peter ‘Digsy’ Deary from The Sums. Although Digsy is not mentioned in the song, one of Digsy’s anecdotes about lasagna is. It is a short, cheerful, piano-based cheesy sing-a-long. The way Liam elongates “lasagna” is very clever in keeping with the guitar melody but also quite funny. The live performance of this song is where the real excitement lies. It is much better live.
Slide Away:
An ode written to his then-girlfriend. Unfortunately, she left him not long after because she believed he was going nowhere. Ha. The jokes on her. I would describe it as a melancholic love song. Noel recorded this on a Les Paul loaned by Johnny Marr. I love Liam’s sustained vocals on the chorus. The song is great, but you know the genuine emotion behind it when it’s stripped back.
Married with Children:
Noel was writing and a the television show sharing the same name as the title happened to be on. The song itself centres on pettiness when sharing a home with a lover. I have had debates over Liam’s current vocals, and how they have declined, and when they ask “why?”, I point them in the direction of this stripped back track. His vocals are angelic and on point. Many have said Liam is a monotone vocalist, but I refute that when you hear this. Liam at his very best.
Overall:
How do I write this? I’ve already lauded the album countless times within the review. You can understand why it is considered the favourite Oasis record for many, including myself. Noel has mentioned he loves it and has been playing it constantly on its 30th anniversary. “Definitely Maybe” is about escaping the usual shit we face and longing for a better life with sprinkles of optimism. An exquisite sound hides the melancholic lyrics (sometimes cheerful). The record also signified what was to come for Oasis. All of these songs are brilliant live. It was strange, yet pleasing to hear ‘Married with Children’ electric. I may not have touched much on where the punk is on the album. It’s all over. From the defiant lyrics and punk rock instrumentation to Liam’s snarling. I don’t know what to say if you cannot hear that in songs like ‘Rock n Roll Star’. There is a reason this record has stood the test of time. I don’t think I will ever tire of listening to it. It’s apt that a record that inspired hope 30 years ago has returned to the summit as we are now back in the same political situation. We need something to raise our spirits and return to feeling hopeful.
Song recommendations: ‘Live Forever’, ‘Rock n Roll Star’, ‘Married with Children’
If you’re curious about her name, it’s a tribute to scatting, a technique deeply rooted in jazz. As a Filipino Londoner, she’s a bit of a mystery (to me at least.), and I had to do some digging to learn more about her. This is her third album, and it’s been produced by the legendary Rick Rubin at Shangri-La, Malibu.
Her real name is Beatrice Laus, and her breakthrough came with a song named ‘Coffee’, which she wrote when she was living with her parents at 17. Of course, seven years after that hit (I’ve never heard it), the singer-songwriter/guitarist has her own place. She also had a track go viral via TikTok. It was about crushing on Pavement’s frontman Stephen Malkmus, which isn’t only a strange crush but also made her go viral when most of those using TIkTok are too young to know the band, let alone its frontman.
Her second album, “Beatopia”, released in 2022, is a far cry from her debut in 2020 “, Fake it Flowers”. Her debut was more overdriven guitars, which is quite popular among pop-punk and was once utilised by bands like Green Day when they were fresh on the scene. You could add Oasis to that because the first albums used a lot of overdrive on their guitars to give it that attitude. The follow-up was more downtempo with the music we associate with artists like Norah Jones, Corinne Bailey Rae and Gracie Abrams. Since being one of the support acts on Taylor Swift’s “Eras” tour, her fame has skyrocketed to a level she never expected. Anyone on the fringes who has supported Taylor so far on the tour has seen their stock rise to incredible levels. I’ve noticed this is the third fringe support act with a number-one record.
Bea’s vocal ability increased on this album, and she discussed how she is learning to mature as an artist while being under the microscope over catchy hooks and rocking out over dry lyrics.
’Ever Seen’ was inspired by how someone complimented her eyes and how that gave her an ego boost. ‘Real Man’ discusses how an old boyfriend had failed her.
On songs like ‘A Cruel Affair’ and ’Tie My Shoes’, she blends reality and fantasy in discussing her fears of being an adult, a theme that continues from her previous album, which was named after a fantasy world she created. The blend continues on this record, making it a sequel of sorts, but the characters within the stories have evolved, and their issues become more intense, adding a layer of intrigue to the album. ’Take a Bite’ is the opener, starting with a rock-out bang. It is about gaining knowledge after a relationship has ended and finding the answers as to why the initial chemistry didn’t last.
‘One Time’ is about taking revenge, and then we have her hurting in ‘Girl Song’, so there are several sides to her and her character’s personalities. Leading on from ‘Girl Song, ’ the song focuses heavily on her self-loathing, especially on her appearance.
On ‘California’, she talks about life on the road and how it is affecting her being away for long periods from her lover. This is expressed further in ‘Coming Home’, where she longs to return to her regular life and enjoy the simple things.
Rick successfully balanced Bea’s conflicted emotions in the overall production, a feat missing from her self-produced previous albums. Rick’s knack for producing what the artist has expressed within their lyrics is evident, particularly when you look at artists like Eminem. But it’s not just Eminem-Rick has worked with countless other artists across a whole range of genres, demonstrating his versatility.
As the album was recorded in California, why wouldn’t Red Hot Chili Peppers inspire her? That is evident on ‘Beaches’, another track to rock out to. As mentioned, Bea likes a lot of overdrive on her guitars, but Rick has found a balance on this album. There is even the odd piano ballad.
We have a mixture of piano ballads like ‘Girl Song’, where we can see her vulnerabilities, then the rock-out guitars on ‘Everything I Want’, the attitude and the self-confidence on ’Take a Bite’, and then there is even bossa nova featured on ‘A Cruel Affair’. It’s quite funny that her lyrics contain her insecurities about how others perceive her. She says writing is her way of healing and letting it pour out through songs, but she fears people in her life see it as a way to cause harm and upset. I have to say, as I knew nothing of the artist, I was expecting something that was pop or R&B. I didn’t expect such a diverse and balanced record of rocking tunes, downtempo, acoustic ballads, with, as mentioned before, the odd piano ballad. This unexpected variety is what makes her work so intriguing. I will definitely seek out her material in the future.
Song recommendations: ‘Take a Bite’, ‘Beaches’, ‘Girl Song’
Honest Opinions 