I planned to start with a brief introduction to Olivia Dean, but since this is quite a lengthy review, I will leave it until next time. Olivia Dean expresses something that is often lost in today’s society. A society full of anxiety, negative news headlines, and anger. Her second album, “The Art of Loving”, asks the listener to take a moment, listen, and find kindness in their soul. Now, I have never done a review like this, but I am going to use bullet points. Let us begin:
Her vocals:
Olivia’s vocals act as a warm hug, inviting you into her world from the very first note. Her voice has a unique duality, speaking directly to you while also addressing the wider world. The light production, featuring acoustic guitars, brushed drums, brass, occasional piano, and strings, further reflects Olivia’s emotional journey. Her lyrics reflect her hopes, dreams, heartbreak, and above all, her enduring kindness, making you feel included in her story.
What question does ‘Nice to Each Other’ ask?:
Of course, one of the standout tracks is her latest single, ‘Nice to Each Other’. The song depicts two lovers at war during their relationship, but of course, the chorus asks them to be nice, even when they shouldn’t, because they are hurting each other. The track reflects these emotions of conflict and reconciliation. The sublime jazz-inspired piano hook causes the track to swell after each verse, before dropping into a chorus where Olivia’s vocals take the limelight over a reverberating snare drum. The production is quite clever here, as it shows us that even through ill feelings, a soft approach can be taken, rather than a knee-jerk reaction leading to a blazing row and plenty of volume.
Her love of lounge jazz to mirror empathy:
Olivia’s passion for lounge jazz is beautifully captured in ‘CloseUp’. The track’s unique features, such as the muted trumpets that accompany her sincere and softly spoken apology, the brushed drums, the laid-back bass, and the saxophone that mirrors the lyrics, make it a standout piece. The profound lyricism is certainly a highlight, but the true beauty of the track lies in how the instrumentation breathes life into the song, creating an emotional connection that allows the listener to find their personal experiences within.
The versatile message in ’So Easy to Fall in Love”:
A track that says let your inhibitions go, but also to tread with caution. The title is apt because it is indeed easy to fall in love, get caught up in the moment, and become naïve to the pitfalls that will eventually occur. The production reflects this by using the electric arpeggiated piano and a bright sound to convey infatuation. Her vocals are once again tender, but warm.
‘Something In-Between’ showing the selfish side of love:
Olivia has created a record full of blissful stories about love, but she was also not shy about discussing the other side of it. She talks about protecting one’s worth and standing her ground to avoid being taken advantage of. The track itself is aptly played in the minor key range, featuring a lightly strummed acoustic over a low synth pulse. Reflecting the sense of being at ease with standing your ground, but also knowing that not losing face can be risky to the relationship.
The three-part coda:
While most albums end with a simple coda, Olivia has included the final three tracks, ‘A Couple Minutes’, ‘I’ve Seen it’ and ‘The Last Note. ‘I’ve Seen it’ is about her discussing love with a conviction she feels has never been done before. One particular lyric highlights this: “I’ve seen the movies, I’ve read the poems, but the real love that sticks is the one that hurts enough to matter”, and she is right. It does. Most romantic songs have an air of pretence about them, but Olivia has done it more genuinely. For the first time, an electric guitar is utilised as it bends, representing a sigh, while a light harmonica blends into the background.
Why the album shines a light on being kind:
As mentioned earlier, we live in very evil times, and “The Art of Loving” illustrates that kindness is often frowned upon in society because it is seen as a sign of weakness, and individuals can be easily taken advantage of. However, Olivia has used it to show that being kind is a good thing and as a form of rebellion.
Let us have a look at the tracks I have been discussing, then what they teach us about being kind:
Nice to Each Other:
Even if we have ill feelings towards someone or something, we can choose to show kindness instead of responding in a way that worsens the situation.
CloseUp:
Before rushing in with all guns blazing, we should take a step back and assess the situation to understand it before deciding on the appropriate action.
So Easy to Fall in Love:
Yes, it is pure bliss to feel in love and grow stronger because of it. It may leave our hearts open, but we should embrace it, rather than see it as a weakness.
Something In-between:
Be in a loving relationship. But make sure you can stand your ground, so one person does not dictate the relationship. The balance will ensure the relationship is healthy.
I’ve Seen it:
Love is not perfect. It has its pros and cons, as with everything in life. Give both the rough and the smooth a warm hug.
The lyricism is profound, and her vocals are like standing next to a warm radiator, making you feel warm and cosy as the songs radiate with kindness. In a world that sees love as a weakness, she sees it as a strength. She does not know the answers, nor does she pretend to, and she refuses to be a wallflower about asking. That is why the record shines a light on being kind.
Outro:
Olivia’s album paints a picture of a world where the need to express thoughts is as urgent as a megaphone’s call. Yet, Olivia’s voice rises above all the noise, calling for whispers of kindness, devoid of any expectation of grand gestures in return. She invites us to listen, to pause, and to harmonise with the gentle sound that embodies humanitarianism. Her goal is to evoke a fuzzy, humane feeling, which she more than delivers. Her message, both thought-provoking and steeped in kindness, is a rare and precious find in the 21st century when it comes to love.
Song recommendations: ‘Nice to Each Other’, ‘CloseUp’, ‘So Easy to Fall in Love’
My introduction to the Merseyside band came from a Mod film from 2020, and I’ve also been following several mutual fans on Twitter, so I have been in the loop, so to speak. I didn’t realise how good they were until I saw their cameo in the film. I’m shocked it took four more years to release their debut album, which I’ll discuss shortly. This band is phenomenal, and for me, they are the next Arctic Monkeys. “Pretty on the Internet” proves that.
So their debut was titled “I Wonder if the World Knows?”, released only last year, which did not get the credit until after its release, but never reached the top spot. I do not know why. It is brilliant. You can see why the guitar-driven indie rock reached No. 3. It was always going to be tough when they faced stiff competition from Beyoncé and fellow rockers The Libertines. Both of the latter reached the top spot.
Here is how good it really was: it was named the second biggest debut record of 2024. You can see why the second album has soared to the top spot. They are growing a devout fanbase and have the passion and drive to be a success. As mentioned in the Wet Leg review, it is always a challenge to exceed expectations on the second record, but The K’s have done that.
They have started where they left off with “Pretty on the Internet”. They have found their identity, which includes melodic guitar riffs over a powerful and fast-tempo wall of sound. Akin to their counterparts, Arctic Monkeys, The Libertines, The Coral, DMAs, bands like that.
However, underneath all the noise, is frontman and chief songwriter Jamie Boyle’s more delicate nature as he writes songs that are laced with vulnerability and honesty.
Something that will be highlighted in the following paragraph. His lyricism relates to the listener, and his vocals are strong and clear. Showing his ability to write songs in the background and lead the band onstage.
Returning to Jamie’s vulnerability and honesty. That shines through on the lead single ‘Breakdown in My Bedroom’. He addresses, with frank honesty, his struggles with mental health. Saying that, even though he is in the limelight, he tries to hide his actual emotional state underneath his onstage persona. Then we have anthemic tracks like ’The Bends(Here We Go Again)’, which shows the band’s ability to craft melodies, and choruses that the crowd will be singing back to them during their live performances on their forthcoming tour. At present, I believe they are also doing the festival circuit. This is why the atmosphere during their gigs is electric. The record is set to be played in full during five gigs next month.
The album isn’t just all about guitar solos or pulsing drums. There are more tender moments as heard on ‘Helen, Oh, I’, where strings and the pianos are at the heart of the track. It gives you a chance to catch your breath from a record that is otherwise going at 100mph. I love the synchronisation between Boyle’s reflective lyrics and the exemplary instrumental arrangements. They have treaded new ground with some more introspective tracks, and I do not doubt that they will continue to explore that.
The album closes with ‘Perfect Haunting’, a track that further pushes their horizons as they flirt with a more theatrical sound. It’s something to look forward to on future tracks as they show their expanding versatility. The band fuses pop-punk rhythms and raw energy with punchy rock, flavoured with indie songwriting by Jamie.
And it’s this unique blend that is not only proving popular among their peers but also attracting a growing fanbase. As they look to rise through the ranks, it’s clear that you, as part of this movement, are in for an exciting journey.
The band are not interested in being a band for nostalgia, but rather rhythms and hooks that belong in the now. They are also outshining their peers with their distinctive wall of sound. With two outstanding records under their belts, watch them grow from support acts to headliners. I thoroughly enjoyed the listen, and I think you will too.
Song recommenations: ‘The Bends(Here We Go Again)’, ‘Breakdown in My Bedroom’, ‘Perfect Haunting’
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.
Lorde or Ella Marija Lani Yelich-O’Connor first came to prominence at the tender age of 15. Of course, my introduction was through Later…with Jools Holland, where she performed ‘Royals’, a track that, somewhere along the line, has been called “racist”. I am not here to discuss that, but rather how she became more than just a flash in the pan after her strong debut. I also recommend watching a YouTube documentary on her from her native New Zealand, featuring accounts from her friends and detailing her early rise.
The Irish New Zealander has been known for her reflective lyrics, otherworldly production, and for defying the conventional expectations of what a female pop star should be. Her debut album, “Pure Heroine,” demonstrated an exceptional level of maturity for a mid-teenager, both lyrically and vocally.
Lorde has never been shy about discussing her struggles with fame and her thoughts on culture and the arts. In a world full of fake bullshit, Lorde searches for the truth.
She is not interested in following the herd. After the debut came “Melodrama”, a collection of bright melodies, followed by the reflective “Solar Power”. What’s consistent across all her records is that her music never stays the same. She’s always evolving, always stepping out of her comfort zone. This was just a brief introduction to Lorde, as I want to focus more on the review. But I strongly recommend that you listen to her albums, experience her live performances, and seek out documentaries, because her story is a fascinating journey that’s worth exploring.
People have been waiting quite some time for her fourth studio album, “Virgin”, and although it is easy on the ear, the sound itself has remained stagnant. Everything else, from the lyrics to the themes, is, as always, the strongest link. I am quite surprised that her sound has not moved forward. As with every record, she is not interested in the past. As I mentioned, she likes to challenge herself, but this feels like she has played it safe, for once.
The opener ‘Hammer’ is quite a misleading finish. It builds and builds, and you expect a mind-blowing chorus, but instead it fades into an instrumental interlude. A rather disappointing end to a track that had the potential to be much grander than what it was.
Her leading single, ‘What Was That,’ also suffers the same fate, as the wishy-washy music surrounds her lyricism and strong subject. The track also builds like ‘Hammer’, and just like that track, it too comes to a shuddering halt.
After the shaky start, the record picks up with tracks like ’Shapeshifter’ and ‘Man of the Year’. Let’s focus on that. Her vocals, shrouded by a bass line, are then joined by strings and synths, leading to a moment of grandeur. This allows the lyrics to take centre stage before the build-up.
‘Favourite Daughter’ shows her ability to devise a memorable chorus and addresses how her mother has dealt with her fame. ‘GRWM’ and ‘Broken Glass’ also have strong choruses. It’s just a shame that what appear to be potentially good tracks are overshadowed by the production.
The title track, despite the production that overshadows her vocals and lyrics, showcases the artist’s potential. The opening two tracks, along with ‘Current Affairs’, unfortunately, fall short of the standard set by “Solar Power”. It’s uncertain where “Virgin” will rank over time, but for now, due to the production hindering the lyrics and vocals, it appears to be her weakest yet.
Song recommendations: ‘Man of the Year’, ‘Favourite Daughter’, ’Shapeshifter’
Before their stroke of fortune of being bumped up to Glastonbury headliners in 1995, and of course, the success of ‘Common People, Pulp had been plying their trade for over a decade with little success. However, their rise from playing pokey venues in Sheffield to performing in stadiums, and of course, being on the iconic 1996 Knebworth Oasis gigs, shows that with a little patience, you can get to where you want to be. The band finally found their home in the 90s, thanks largely to their counterparts Oasis making indie rock cool again. Jarvis was seen as an elder statesman of the scene despite still being relatively young in his early 30s. The band emerged from post-punk in the 1970s and began with a teenage Jarvis Cocker inspired by David Bowie, and Roxy Music formed the band in 1978 using the original name Arabicus Pulp. The band flirted with various sounds and had frequent lineup changes while trying to search for their identity that began to take shape in the late 80s.
Before the hedonistic days of the 90s, the band, despite their indie status, had a strong connection with their fanbase, which remained small but loyal. They released several singles and albums that explored themes such as adolescence, boredom, and sex, all tinged with melancholy. Interestingly, tracks like ‘Babies’, now a regular feature in their setlists, were born during this period, showcasing frontman Jarvis Cocker’s storytelling talent, lyrical prowess, and knack for crafting a hit that vividly depicts life in Sheffield and his time at St Martin’s College in London, where the iconic ‘Common People’ story began.
Then came the breakthrough years in the 1990s. Jarvis had changed the lineup during the mid-80s and brought guitarist Russell Senior, keyboardist Candida Doyle, drummer Nick Banks, and the late bassist Steve Mackey. Pulp finally found their wall of sound that would bear fruit in the following decade. That sound would include glam rock, art-pop, and lyrical storytelling, all delivered with charisma by frontman Jarvis Cocker, the band’s founder in 1978.
The band’s 1992 single, ‘O.U.’, marked the beginning of their success and appealed to a broader audience. This success paved the way for their 1994 album “His n Hers”, a collection of songs that featured relatable storytelling. Popular songs such as ‘Do You Remember the First Time?’ let the audience feel a personal connection to the band’s music. This is where frontman Jarvis, a witty storyteller, arrived, further enhancing the emotional connection between the band and their fans. “Different Class” followed a year later, and this is when things really took off for the band. ‘Common People’, which had a dig at the class divide, was fast becoming a frequently played song and evolving into an anthem for the band. ‘Disco 2000’ and the controversial ’Sorted for E’s & Wizz’ showed Jarvis’ witty and comedic storytelling over unforgettable melodies. The album would beat Oasis, among others, for the Mercury Prize in September 1996. It is also worth noting that their fan club president, Mark Webber, joined them as a guitarist/keyboardist in 1995 when they commenced recording the now legendary record.
Guitarist Richard Hawley became a touring member in the late 90s and early 2000s. The band appealed more to the misfits and quiet ones compared to the brashness and laddishness of the Oasis fanbase.
If you are new to Pulp, I would start with the iconic “Different Class”, but after, give “His n Hers” a listen to experience Jarvis’s lyricism with the band’s raw energy. You will realise why Pulp, even during their hibernation, has always been relevant in music conversations. Jarvis’ lyricism is like the poetry of everyday life accompanied by instrumentation. It also shows why they are still adored internationally—enough of the introduction. Yes, I could have mentioned the indie rock departure of “This is Hardcore”, but I was in danger of boring you. So, let us move on to the long-awaited record.
Pulp has finally completed its eighth album after a gap of twenty-four years between 2001’s “We Love Life” and now. It is also, sadly, the first record without their bassist, Steve Mackey. Although “More” addresses middle age daily life, compared to their iconic 1995 album “Different Class”, Pulp has not lost the magic that made them so popular in the 1990s.
From wanting to be noticed in their heyday, this album is more based on nostalgia than in the future. There are two tracks where enigmatic characters appear in ’Tina’ and ‘Grown Ups’ who seem to be individuals from Jarvis’ past.
Do not be fooled by the notion you are just listening to songs because with Pulp, it is more than merely instrumentation with nonsensical lyricism. The songs have always been poetic lyricism, and this record is no different. The tracks all formulate a meaningful story; sometimes, Jarvis delivers these in spoken word. Be it through the interludes or breakdowns during the tracks. Pulp is not aiming for chart success with “More” but is looking to structure the songs however they see fit while keeping the listener interested with the storytelling over various genres. This is not your typical pop-friendly album.
Despite not aiming for chart success, the band maintains a unique and unmistakable identity firmly embedded in their record. Each element contributes to the band’s distinct style, from Nick Banks’ driving drums to Mark Webber and Candida Doyle’s elan and Jarvis Cocker’s exemplary storytelling and witty lyricism. The band’s dynamic combination of these factors, however, is what truly excites and engages the audience.
The album explores several phases of human emotion. ‘Got to Have Love’ is what I would describe as a Smiths/Oasis/Killers song laced with melancholy over uplifting instrumentation. In this case, it is more indie-disco, like a fair few of their hits were in those heady days. ‘Farmers Market’ swings the mood with a romantic story encased by a piano and violins to bring it to life.
’Spike Island’ opens the record with a short, amusing story, setting a feel-good tone. ‘Hymn of the North’, the penultimate track, is a heartfelt tribute to their beloved Sheffield. The closer ‘A Sunset’ wraps up the album on a note of tranquillity, leaving you calm. Unfortunately, I haven’t had the chance to listen to the bonus track ‘Open Strings’ to see how it might alter the album’s ending. The verses in ‘A Sunset’ resemble the late Johnny Cash’s rendition of ‘Hurt’. Whether this was a deliberate homage from Jarvis or a happy coincidence, I can’t say.
“More”, for me, has something for everyone. It is not based in one genre. The lyricism and storytelling are outstanding, and I am excited about what comes next because it was worth the twenty-four-year wait. Despite the tragic loss of Steve Mackey, the band has not lost their touch, aided by their old friend Richard Hawley. Pulp is in rude health, and the impending tour will be fantastic. The magic is still there; they deserved to be at the top of the chart. Form is temporary, but class never fades.
Song recommendations: ‘Farmers Market’, ‘Hymn of the North’. ‘Got to Have Love’
I already told you (I think) in my review earlier in the year that I like Shed Seven, and they have been underappreciated by the mainstream. The media especially had harsh words for them during the Britpop movement, but it is nice to see the York lads have remained defiant and carried on regardless.
Take a moment to appreciate their loyal fanbase, who have been part of their journey for over 30 years . Despite the criticism from mainstream music journalists, the band remains popular , largely due to their strong connection with their fans. Their music, especially the 90s singles, have become anthems that still sound fresh today. “Liquid Gold” is a testament to this bond, not just a lazy greatest hits album . It’s been reworked and includes an orchestra, giving it a fresh and bombastic sound. Was it a risk? Yes. Was it worth it? This record is amazing. That’s your answer.
I haven’t looked into the vinyl edition yet, but that version is even better than the other versions. I just went to the band’s official YouTube channel and listened to it. I’m glad they chose to reimagine their greatest hits because we already had “Going for Gold” released in 1999.
The opener is ‘Getting Better,’ featuring strings and bass. Although the track has been altered, it still maintains the uplifting tempo of the original with a bigger chorus. I’ll be honest with you: You are in for one hell of a listen.
I am going to single out ‘Devil in Your Shoes’ and ‘On Standby’ next for continuing in the same vein as ‘Gettin’ Better’, but this time, violins are a highlight on the chorus. It is worth noting that both songs retain their originality.
One of the album’s most striking features is its uplifting nature, enhanced by the orchestral elements. The orchestral version of ‘Disco Down’ is a perfect example. Surprisingly, it surpasses the original, which was already brilliant, in terms of its musicality and emotional impact.
I could wax lyrical about this record all day and all night. It is truly magnificent. The listen flies by; you are definitely having fun.
Some might say the band are showboating on this album and basking in their success earlier in the year, but who cares? They have been underappreciated for decades. They deserve to swagger. The band sounding tighter than ever, and Rick Witter’s vocals have remained ageless. Honestly, I couldn’t tell his vocals apart from then and now.
We can only dream the reworking ‘Going for Gold’ to become the next James Bond theme because it will be the perfect fit.
Issy Ferris performs vocals on the new version of ‘Waiting for the Catch’. Yes, some recent songs get a makeover. The latest version with Issy will be one of their best in future years.
There is room for a new song called ‘All Roads Lead to You’, quintessential Shed Seven.
Okay, reworking songs with an orchestra or otherwise isn’t original, but the Sheds haven’t made it cliched. The band worked with the orchestra to build up the chemistry and create lightning in a bottle while still keeping the band’s identity.
The album wraps up with the enchanting ‘Chasing Rainbows’ , another sublime reworking. I do wish ‘She Left Me on Friday’ was included, as it’s a personal favourite. I urge you to listen to the album from the beginning, as it’s a true delight with no disappointing reworkings. This record is a gem, consistently uplifting and enjoyable. I’ve included some song recommendations, but trust me, it was a tough call. Kudos to the Sheds for this fantastic record.
Song recommendations:‘Going for Gold’, ‘Waiting for the Catch’. ‘All Roads Lead to You’
In August 1997, a young teenager named Pete Doherty was interviewed on television outside His Master’s Voice, Oxford Street. He shared his thoughts on Oasis’s eagerly awaited third album, “Be Here Now,” and his opinion of the band. Pete later co-founded The Libertines (Originally The Strand) with his flatmate Carl Barât, although their names and band name were unknown. The band had a history of members leaving and returning before eventually signing with the infamous Rough Trade in 2001. Razorlight’s Johnny Borrell briefly served as a bassist for the band. The drummer, Paul Dufour, was sacked by their female manager, Banny Pootschi, for being ‘too old.’ An American-born Brit named Gary Powell was recruited to play on their debut album, “Up the Bracket,” released a year later.
The band was known for performing guerilla gigs, inviting fans to their flat to watch them perform, often causing trouble with the police. During this period, they experimented with various drugs, including cocaine, crack, heroin, and cannabis. Pete and Carl’s friendship was also unstable, swinging from best mates to enemies, reflected in their 2004 self-titled album, especially in their monumental anthem, ‘Can’t Stand Me Now,’ and ‘Don’t Look Back into the Sun.’ Unfortunately, the band split the same year due to infighting between Pete and Carl.
Pete later formed Babyshambles a year before The Libertines split, while Carl formed Dirty Pretty Things a year later. In March 2010, the band announced that they would reform and headline the Reading + Leeds festival in August, surprising fans as Pete and Carl had not spoken since the band split. The short reunion was a success, with thousands of fans flocking to the stage and several others watching on the BBC. The gigs are the main search results on YouTube for their live performances.
Carl stated in an interview two years later that he could see the band reforming again. Another two years passed when a cryptic picture of Hyde Park appeared on their Facebook page on April 20. The Barclaycard British Summer Time Festival then made an offer to Pete and Carl to perform on July 5 and close out Saturday. They accepted the offer, and a further surprise was in store when they announced they would perform three nights at Alexandra Palace in late September. I had the fortune of attending the final night with my friend Keano. Circa Waves supported them, and it was fantastic. We were absolutely fucked, but then so were Pete and Carl. I do not remember much of the gig, but we enjoyed ourselves. I have to watch videos of that night to remember just how good the performance was, and it is the band at their best. They were back, and you could feel the chemistry.
After those four successful gigs, Pete attended Hope Rehab Centre in Thailand. Once he completed his rehab, the band joined him in January 2015 to start writing the next album. The album was released later in the year and called “Anthems for Doomed Youth.” It topped the charts at No.3. The band has been together since, with Pete having a solo project from 2016 and Carl returning during hibernations to Dirty Pretty Things.
Now, regarding their newest album, it is unbelievable that it has been nine years since the band’s last release. They have been on the road regularly since their second reformation a decade ago. Their name, song titles, and albums all reference books. The new album, “All Quiet on the Eastern Esplanade,” is no different and has no interludes.
The album opener is ‘Run Run Run,’ which discusses escaping the past over quintessential indie from the early 2000s, most notably The Strokes. ‘Mustang’ has the bass and drum sound that the band was known for in the early 2000s.
Pete takes over from Carl on ‘Have a Friend,’ which has the same structure as a typical Libertines track but lacks the punch instrumentally. ‘Man with the Melody’ is one of the slower tracks on the album, and Pete and Carl talk about facing their demons on this piano ballad complete with strings.
‘Night of the Hunter’ adds the band’s love of books to the mix, something the band is known for with tracks like ‘What Katie Did.’ They have a knack for turning books they have read into their original songs with nods to the book. The record teaser ‘Shiver’ departs from their indie/rock roots. It is more theatric and sounds quite evil before it fades out.
‘Be Young’ is my favourite from the album, and there are no prizes for guessing why. This is the band with their wall of sound, the sounds we have known since “Up the Bracket.”
The closer is ‘Songs They Never Play on the Radio’. This song sounds similar to ‘Music When the Lights Out’. When the pair trade off vocals, the delivery mimics that song, and so does the instrumentation. It is a good way to end the album, as the tempo is brought down.
In my opinion, “All Quiet on the Eastern Esplanade” represents the band clean and sober. There is a more mature sound and less chaos than what you had on “Up the Bracket” and the self-titled record. “Anthems for Doomed Youth” was a bit calmer, but this one certainly has the lads discussing hard-hitting issues with less kick in the music. Hopefully, we will not have to wait another nine years for the next album.
I look forward to hearing how these new songs with a more mature approach go down on the tour, which is almost sold out.
Song recommendations: ‘Be Young’, ‘Song They Never Play on the Radio’, ‘Run Run Run’
My biggest fear for the record was that Billie-Joe Armstrong was going to water down the lyrics like he did recently for ‘American Idiot’ during a performance earlier this month. I wondered why he did that. Was he trying not to offend those referenced as “redneck” in the original lyrics? Or did he just want to let the Make America Great Again movement know he wasn’t a part of their agenda? I was worried Green Day would lose that punk ethos after that performance. However, I am pleased to say that is not the case, and they still have that political drive we know them for.
The opener ‘The American Dream is Killing Me’ sounds very familiar, and that is because it has an ‘American Idiot’ feel, so that’s one of the political songs. ‘Strange Days are Here to Stay’ addresses the use of heroin but also attacks racism, Über, and what the bullshit governments/politicians promise to deliver and never do. ‘Living in the 20s’ was a lot darker than any of the tracks on the album as this talks about mass shootings, which happen frequently in America. ‘Coma City’ also addresses that issue but also attacks police for their unnecessary use of force. All of the above have anthemic choruses and will send the audience wild during live shows. The punk spirit, passion, and fist-pumping will be palpable.
They also take a sarcastic swipe at their generation and nod to the 90s classic film Trainspotting. ‘1981’ reminded me of the likes of Clash and the Ramones. The lyrics reference the Cold War and East Berlin. They even reference the present, especially on ‘Fancy Sauce’, which is tongue-in-cheek.
The record spans across all decades. ‘Dilemma’ sounds like the 50s rock, and if I recall correctly, the last album I reviewed of theirs was pretty much a record packed with that particular genre, which I said, at the time, took me by complete surprise because it was more their cover band (Coverups)than them. Don’t be fooled by this; the song swings from that to the usual Green Day sound continuously over a hard-hitting subject of addiction. There is also the gender-neutral ‘Bobby Sox’. There is even room for their love of Oasis on ‘Father to a Son’, where the acoustic is deployed over strings and brass, and Billie-Joe talks about the pros/cons of being a parent. Again, there are a few tracks like the above that you think have softer moments, where Billie-Joe adopts the acoustic, but you are wrong. At some point, they explode into action with punk, and ‘Father to a Son’ is no different. It works on the aforementioned track because it conveys both emotions of being a parent.
This album never stops. Like I said, even the gentler, more acoustic moments do not remain ballads, but full-on pop punk. This is the closest album I can think of to “American Idiot”, with its bite, sarcasm, and political and controversial views across a range of topics. Some might say it’s “safe”; I’d say it’s the band at their very best. I am still a fan of “Dookie, though. Nothing will top that.
Song recommendations: ‘The American Dream is Killing Me’, ‘1981’, ‘Father to a Son’
THIS is long overdue. Thirty years, in fact. It was challenging to reach the summit in the 90s because Oasis and Blur dominated both singles and album charts. Journalists used to sneer at Shed Seven and wanted them out of the picture entirely. They gave the band no love for reasons I cannot fathom. I have enjoyed the band since I first saw them perform on TFI Friday in the mid-90s on the first series of the chat/music show (I am relatively sure it was the third episode, and they performed ‘She Left Me on Friday’). The British and Irish music scene was teeming with Indie bands then.
Among others and the usual suspects, Shed Seven stood out as a band with attitude and swagger. Frontman Rick Witter oozed with confidence that cold Friday night in London. I have had the pleasure of conversing with Rick now and again, and not only does the band deserve this long-overdue accolade, but so does Rick. Just for being the down-to-earth artist that he is. “A Matter of Time” may have only been released last week, but two singles ‘Kissing California’ and ‘F: K: H’ were released late summer to tease it. Plus, the tour commenced in the autumn. This is the band’s sixth studio, and I am surprised they haven’t had a No.1 album before now. They have had a string of hits that have become anthems. Maybe it is this whole nostalgia flex that people are still on? I don’t know. The record features the likes of Rowetta, who is known for performing with the Happy Mondays, Laura McClure neé Manuel of Reverend and the Makers (She is the wife of frontman Jon.), and of course, the superb Pete Doherty (The Libertines, and Babyshambles.). Anyway, I think the only service I can give this historical moment is a track-by-track review:
Let’s Go:
BANG! The band is straight into it, like the band who owned that stage on TFI Friday in the mid-90s. No time has been wasted with the attitude and swagger. The sound is explosive, and it is quite fitting that the track is short. To contrast, the explosive rock, is a choir as the song passes the halfway point. Just from the explosive beginning, you can tell you will enjoy the ride, and it reminds me of how a gig begins.
Kissing California:
The first teaser single, released in July, has a summer vibe. It certainly is a considerable drop in tempo, as the band take it easy over drums, percussion, vocal harmonies, and an earworm hook where the band chants ‘California’. You can see why it was released as one of the singles.
Talk of the Town:
Acoustic in the verses that leads into a distorted guitar in the chorus. Again, another earworm hook with the band repeatedly saying ‘Talk of the Town’. It’s elementary, but that is enough to get into your head. The lead guitar shines on this track. Another highlight is the middle eight section that builds before the final chorus.
Let’s Go Dancing:
This track drops the tempo again with reflective vocals over a piano accompanied by strings. My favourite part is neither this nor the vocal harmonies in the chorus, but the duelling guitars performing the solo. I love that. They tend to be used more in metal music. This track also has a touch of nostalgia about it.
In Ecstasy:
You are probably wondering, “Where are the features you mentioned earlier?” Well, here is the first one. It’s Rowetta accompanying Rick’s vocals. Imagine that? It is unbelievable—so much power. However, during the chorus, Rick lets Rowetta take the lead; as you can imagine, she does not disappoint. As well as the vocals, the stage is set for bassist Tom Gladwin.
Tripping with You:
Another feature quickly follows this time with Laura McClure. Again, this romantic track brings the tempo down with a violin in the chorus. I feel sad that Laura’s vocals were far too laid back, so we do not see her shine as Rowetta did in the previous track.
Let’s Go (Again):
A quick interlude. Those who have read my past reviews will know my feelings on interludes. Rick sings about Argentina and Mexico over an acoustic with a full band.
Real Love:
The tempo picks up, again with a track that utilises synthesisers, which is a pleasant surprise. So far, we have heard the usual instruments the band uses. It adds originality to the album and shows the band are open to experimenting with the sound.
F: K: H :
The second teaser that came out in September features a gospel choir on the backing vocals over a steady tempo. You could argue that the band is trying out a bit of early ’90s Primal Scream here.
Starlings:
As you can imagine, the video for the track features the bird species the track is named after. This one is a balance of melancholic and uplifting. I imagine this one is quite personal to Rick because the vocals and the lyrical content are the epicentre of the track. The tempo is the same as the previous track.
Ring the Changes:
It is now the turn of the drums to take centre stage. A looping guitar riff accompanies the groovy beat and will do well at the festivals in the summer this year because it just feels ideal.
Throwaways:
The longest track on the record, with the final feature of Pete Doherty. Pete tends to act as harmony for most of the song, which is certainly noticeable, but he also takes over from Rick in one of the verses. The track has it all. Full band. Rick’s vocals. Pete’s harmony. Pete’s verse. Acoustic section, and the track just evolves in every section. It is easily one of the best on the album, and due to the length, the song has time to build. It wouldn’t have looked out of place during those heady days in the 90s of that whole Indie scene.
Song recommendations: ‘Let’s Go’, ‘In Ecstasy’, ‘Throwaways’
Pop-funk verse, acoustic guitar in chorus, tempo changes throughout with Brian Eno on synthesisers.
the Court:
Similar to ‘Panopticom with piano at outro and Brian Eno on synthesisers.
Playing for Time:
Emotional piano ballad accompanied by strings.
i/o:
Lyrically focused, it grows from a relaxing melody into a singalong anthem.
Four Kinds of Horses:
Briano Eno on synthesisers and electric worms, half-spoken verse, rousing bridge, and a subliminal message chorus.
Road to Joy:
Brian Eno on production, uplifting track with a catchy hook.
So Much:
An emotional track over the piano with Soweto Gospel Choir.
Olive Tree:
Classic Peter Gabriel with an air-punching chorus.
Love Can Heal:
Something of a lullaby.
This is Home:
Outstanding vocals over a fantastic production.
And Still:
An emotional track addressing the death of his mother.
Live and Let Live:
Brian Eno on synthesisers and rhythm programming, Soweto Gospel Choir also features. Peter said the late Nelson Mandela and the late Desmond Tutu inspired the track. It’s a track about love and forgiveness.
Conclusion:
This is a quintessential Peter Gabriel album, which isn’t a bad thing, but the tracks are incredibly long, and I would describe the production like a river—everything flows, but the songs all sound similar, with some exceptions. I don’t know how this got to No.1 when the kids these days stream music, and I wouldn’t have Peter Gabriel at the top of their list. I can only think that “i/o” has been bought for parents/grandparents, uncles and aunties as a Christmas present. Still, fair play to him for managing to score a No.1 album in this day and age.
Song recommendations: ‘Panopticom’, ‘Four Kinds of Horses’, ‘Live and Let Live’
Honest Opinions 