I was stunned to discover that Dave hasn’t released an album in over four years, but as the review progresses, you will see why the wait was worth it.
You are probably wondering about why that title? Well, it is a biblical reference from the book of Samuel foretelling the story of King David. Quite funny, really, when the artist in question shares the same name.
The production doesn’t lean towards hip-hop and anything that might resemble a banging tune. Instead, it is more introspective, featuring piano, spaciousness, and ethereal tones. Occasionally, the harp features, and Dave even picks up the guitar on the 6th track.
In regard ot the themes, he focuses on dealing with fame, identity, legacy, being a man, faith, and how he has a sense of duty to his listeners and society. Rather than basking in his achievements, he questions what his roleand voice is doing to lead by example.
Now, part of the summary is out of the way; let’s look at the songs that caught my ear:
History:
The opener sets up the rest of the record. Dave addresses everything about himself. James Blake not only features on the track but also produced it, creating a typical atmospheric soundscape that he adopts, complete with tender piano and reverb space that allows the words to land, allowing the listener to engage with the thought-provoking lyricism from Dave, which is always interesting. I have never found him at a loss for words. In fact, let’s look at that on here. Dave refers back to King David, and as the record progresses, you hear why he uses this biblical figure to illustrate power, vulnerability, and how music heals the soul. Never mind, if the track is not for the commercial market, but rather the lyricism and the matching mood of the music.
Chapter 16:
What more can you say? It features the amazing Kano. I have been a fan of Kane since the early days of grime, so this track was never going to be skipped. The pair trade verses, discussing their legacies, the rap game, and how they feel burdened by representing the scene. Once again, James goes for a minimalist sound with his trademark piano chords and a beat that allows for reflection. Dave pays tribute to Kano, stating that he has been a fan of his since he was 14 years old. Kano also praises his younger counterpart. The song connects all timelines of UK rap, with Dave accepting his role in its future, while also questioning what he wants and what he owes. The track could have easily been one of pure egotism, but Dave shows humility alongside ambition, and, of course, what his legacy is.
Raindance:
Unless you follow her closely, have seen her at major festivals, or watched Later… with Jools Holland, the Nigerian vocalist Tems, who features, will probably have escaped your attention. The Afrobeats-inspired track, over reflective piano riffs, is more light-hearted than the previous tracks. Dave is more playful with Tems. The lyricism focuses on Dave enjoying a night out, where he meets someone, apologises for future relationship struggles, and references the concepts of marriage and property. This track takes him out of his comfort zone with Afrobeats, but it works well with Tems, nonetheless. A bit of a breather from the heavier songs so far.
Selfish:
James Blake returns from the control room with a heavy, moody, introspective, and self-confessional collaboration. Dave examines what fame has cost him in life, including narcissism, and what his ambition entails. Dave also highlights how his bravado is often laced with self-doubt. A typical James Blake production, leaving Dave’s wordplay time to breathe. Another heavy, but lyrically intriguing track.
My 27th Birthday:
This nearly eight-minute track focuses on self-reflection, with Dave looking inward at his legacy, expectations, age, and how he has evolved. Again, the production is more of the same, with a blues-inspired piano riff with looping vocals. The lyrics are used as a metaphor for a day/year that’s in motion or standing still. Dave once again examines his role in society and considers how he can utilise his voice to create a positive change in the world. He also examines how fame can be a burden rather than a blessing, as he feels that people are being cynical about the messages he is trying to convey. They are using his fame as a weapon against him when he is less likely to return to a life of poverty. A very deep listen.
Fairchild:
Dave gives a chance to the upcoming talent of Nicole Blakk and lets her showcase her views, where she discusses being the unfortunate victim of assault, which has triggered a fear of men, and her experience of misogyny. This evokes emotions in Dave about how incels behave, and he questions why his fellow men more often than not turn a blind eye to this unacceptable behaviour. Dave even questions if sometimes he, too, has shown misogynistic traits, which is perfectly portrayed in the line “All know a victim, don’t know a perpetrator, am I one of them?” It may be a heavy listen, but it is what you would expect from him. It’s a deep track with substance. It is refreshing to see a male address violent behaviour towards, whether he has unknowingly done it himself, and how he feels a sense of responsibility to make his fellow man aware of this abhorrent behaviour.
The Boy Who Played the Harp:
The closing and title track uses a sample from The Beatles. The track’s name eludes me at the moment. This track makes the premise of the album all make sense. The name, the purpose, the record’s identity, the burden he feels, and the activism displayed. I love the premise behind the lyrics, as he places himself within historical moments, such as world wars and the civil rights movements. He ponders if, like in those moments, he can speak up, act, and lead when necessary. The title track, like the rest of the album, ends strongly, leaving the listener to ask themselves the very questions he did throughout. Bizarrely, though, there is no harp. Just a piano.
Strengths & Weaknesses
Now let’s address where the record is good, and where it falls down:
Strengths
Of course, it has to be his lyricism. I mean, after all, that is what he primarily is. Dave started as a spoken word artist before moving into rap. I love his wordplay, detail, reflection, and how he uses metaphors.
The album is streamlined rather than a mishmash of songs. There is a constant string of themes that remain consistent.
He isn’t coy about asking himself challenging questions, rather than doing a record that focuses on his success.
If you ask me, what are the highlights of the album? Well, it’s all of the tracks above.
When I get to the song recommendations, I’m going to have a think about what three stood out.
This is up there with his best work to date.
Weaknesses / criticisms
This is not my opinion, but looking at it from a critical point of view, you have to say that James Blake’s production is too moody and lacks dynamism.
The tracks are not chart-friendly, both in terms of lyricism and production. There is also a lack of hooks, which may hinder the number of plays he receives in the mainstream.
Some listeners will feel that the themes are more of the same, and doesn’t bring anything new to the table.
Coda
Although the album may not be that chart-friendly, it is full of thought-provoking tracks, which to me, is always better than sacrificing for the sake of the singles chart. It is up there with his best work so far. You just have to look at songs like ‘Fairchild’, ‘Chapter 16, and ‘My 27th Birthday’ to see the maturity in his writing, and how they all have a purpose. It may not have the hits that have featured on past records, but this is one for the deep thinkers, who will appreciate Dave’s approach. My personal opinon is, I love it. A very strong record that cuts through all the bullshit.
Song recommendations: ‘Chapter 16’, ‘Fairchild’, ‘The Boy Who Played the Harp’
I recall telling you all that I was impressed with their previous album, “Blue Weekend”, which was released four years ago. As we all know, that is a long time in music; therefore, it is easier to be yesterday’s news. However, the period between “Blue Weekend” and “The Clearing” has seen them remain fresh and avoid the block, and they have certainly been working hard to make something special.
Markus Dravs was the producer last time, and this time they have employed another top producer, Greg Kurstin, and dare I say it, but he has bettered what Markus did. We have frontwoman Ellie Rowsell’s soul laid bare in songwriting and fantastic vocals with profound instrumentation. This record, much like “Blue Weekend”, is more autobiographical regarding Ellie, where she delves into her life experiences with utmost honesty.
Wolf Alice have never shied away from exploring new sounds despite them being heavily pigeon-holed in the indie punk category. There are new layers with every song you hear. Even though the band have been together for going fifteen years, the chemistry is still there, and it appears they are tighter than ever.
The opener ’Thorns’ shows their intent. Ellie confesses to being a narcissist and a masochist on this storm-cloud ballad. Quite a surprise to hear her say that. You would never have her down as a narcissist. We then have the confidence of the lead single,’ Bloom, Baby, Bloom,’ featuring a drum and bass element. We then have a track called ‘Just Two Girls’, which celebrates friendship between two females. The intimacy of this friendship is so palpable that it will resonate with the listener, evoking a deep connection.
However, it’s moments like ‘Leaning Against the Wall’ that capture the meaning behind Ellie’s lyricism and just an acoustic guitar on the folk track to drive the point home. Another one that highlights Ellie’s words is ‘Play It Out, which is a highly emotional piano ballad that will certainly move the listener. It addresses Ellie opting not to have children, but maybe as she grows old, she might repent at leisure.
Yes, the album has quite a bit of introspection, but it never becomes overly introspective. We have rock-pop energy in ’Safe in the World’, ‘Bread, Butter, Tea, Sugar’, and ‘Passenger Seat’to lighten the mood. It showcases the band’s ability to transition seamlessly from raw energy to introspection.
The end has two tracks that are in each of the spectrum: ‘White Horses’ offers the energy, and my favourite track ‘The Sofa’ sees Ellie reflect on her life and what she desires over tender instrumentation that is quite dreamy. It is indeed a track that took me by surprise when I heard it on Later…with Jools Holland, in the spring, because it is nothing like I have ever heard them do before.
You will hear several influences, including Florence and the Machine (Markus is known to produce for them), The Beatles, the late Sinéad O’Connor, Portishead, and, dare I say it, Taylor Swift. Having said that, Wolf Alice still maintains their identity. What the band have achieved on this record is how the emotion increases track after track, leaving the listener feeling the impact. Of course, the album is not complete without Ellie’s unmistakable vocals that range from intimate and soul-bearing to the power we hear on the high-energy tracks.
“The Clearing” showcases the band at their most confident, fearlessly displaying raw emotion and delivering tracks that are destined to be timeless. The album’s frank honesty, although it may be slower-paced than their usual style, is refreshing and showcases their versatility. I am certain that this record will receive several accolades shortly.
Song recommendations: ‘The Sofa’, ’Safe in the World’, ‘White Horses’
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.
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’
I didn’t know who Sabrina Carpenter was until I attended Radio 1’s Big Weekend this year, and she came on before Olly Alexander as the sky started to get cloudy. There was momentarily rain on that spring bank holiday. She would later return to do a song with the closing headliner, Coldplay (I bet all those fanatics were gutted as they missed that.). This is when I found out just how popular she was. The barrier was lined with young girls waiting for her set. When she eventually went onstage at about five in the afternoon, it was only what I would describe as being transported back to the 1960s, watching The Beatles perform as young girls screamed in your ear. Honestly, it was that mental. The young girls surrounding me and my friend went into a frenzy during the performance and knew all the words to every song while screaming at the introduction of each song. My ears were ringing after hearing the youngsters screaming in my ear. I thank god that modern PA systems are so powerful now that it doesn’t affect the artists onstage anymore.
I could still hear her songs regardless of all the pandemonium in the crowd. The biggest for ‘Espresso’- a song that had been number one for two months at the time. It’s funny that she has just started to get fame, considering she has been around for over a decade. It all began to fall into place after two tracks off her previous album, “Emails I Can’t Send”, the two being ‘Nonsense’ and ‘Feather’ went viral. Of course, the biggest breakout was the one already mentioned in this paragraph, and features on this record as it happens ‘Espresso’. After that track was met with international approval, everyone was on the edge of their seats, eagerly anticipating the release of “Short n Sweet”. As I predicted in a previous review, I knew Sabrina would have no problem reaching the summit of the album chart in several countries. Enjoy my track-by-track review of her latest album:
Taste:
We begin with ’Taste’, which I am pretty certain she opened her Big Weekend set with. It is easy to understand why this song opens the album because it is utter earworm. This has become a fan’s favourite with her incredible vocals and uplifting instrumental backing her up. However, the subject is quite sinister. Sabrina is taunting her ex-boyfriend’s new flame (I say that. She is an ex-ex-girlfriend.) that even though they are no longer together, his lips still contain her taste. It isn’t all evil, though, as she plays around with metaphors and uses comical elements, which she is famed for. This gives her tracks of feeling retro and modern simultaneously.
Please Please Please:
It’s another fan favourite. It has also been featured heavily on social media. This one is about being in a relationship that sometimes you are not entirely proud of despite being in love with them. Sabrina is concerned that her significant other will cause her great embarrassment in a social setting and, therefore, could damage her reputation within her profession. Of course, once again, Sabrina’s lyrics are playful about the situation. This one has resonated with fans and regular folk as, at some point, we have all been in this scenario.
Good Graces:
I can already tell this record will be full of heavy subjects with light-hearted humour, and this one is no exception. An acoustic greets us at the intro accompanied by synthesisers and her mesmerising vocals, which are the perfect ingredients for a pop RnB track. Sabrina is heavily inspired by her idol, Ariana Grande, as she discusses her self-worth. Letting her lover know that if they cross the boundary, she will leave and hate them. If they don’t? She will remain loyal and want to spend the rest of her life with him. Although she may be popular among young fans, Sabrina uses swearing with a carefree nature. This song alone contains a hook that is “I won’t give a fuck about you”, which she repeats over and over. You can hear this in the intro. You have to admire her humour. I wonder if she would be any good at stand-up.
Sharpest Tool:
Pay close attention to this one. She cleverly starts a lyric with the previous lyric’s word , a testament to her songwriting prowess. It’s a clever bit of songwriting, possibly a subtle dig at her boyfriend’s intelligence. Even he , through her canny lyricism, should understand her dissatisfaction with the relationship.
Coincidence:
It is most certainly a crowd participation song, as the track has the classic “na-na-na” vocalisation. The instrumentation is also whimsical, adding a fun and entertaining element to the song. And let’s not forget her now infamous trait of pouring sarcasm into her lyrics, which adds a witty and humourous touch. Sabrina becomes suspicious of a woman who frequently visits her and her boyfriend despite him reassuring her nothing is happening. Unfortunately for him, Sabrina’s womanly instincts kick in, and she knows he is unfaithful with this frequent visitor. She also taunts her lover’s lack of brains to cover his tracks.
Bed Chem:
Wow! What a refreshing change in direction. For the first time, Sabrina steers away from the sarcastic-laden tracks to a more uplifting song. This new track is a breath of fresh air, with no sinister undertones. She explores the joy of being in a new relationship and feeling infatuated all over again,perfectly matching the RnB production and her astounding vocal range.
Espresso:
Now to the song of the moment, which changed Sabrina’s venture into music forever. Its whole uplifting nature , a rarity in recent times, is reminiscent of Pharrell’s ‘Happy’. It’s that kind of track. With no hint of misery and a chorus that’s impossible to resist, it’s a song that’s impossible to escape. Even if you’re not a fan of hers, you’ve undoubtedly heard it, whether you realise it or not. It’s a song that’s everywhere, and its appeal spans generations. This quintessential pop song is for all ages. Will it be the biggest hit of the year? Who knows?
Dumb & Poetic:
Sabrina returns to her trademark songwriting, sharing her perspective on a past relationship. She confronts an ex who mistreated her, seeing through his attempts to appear enigmatic. She takes pleasure in dismantling his ego, particularly relishing the reminder that he only pretended to be a man.
Slim Pickins:
Another signature song, this time set against classic country-folk instrumentation. The former Disney Kid also incorporates the twang we associate with country music. The title track is apt as it explores the theme of choosing a partner from a pool of ‘evil’ men, or remaining single. Is this change in musical direction surprising? Not at all. The artist’s ability to seamlessly transition between styles is a testament to their musical talent.
Juno:
I was unaware , this song is a tribute to the 2007 film ‘Juno ‘, that addressed the issue of teenage pregnancy. Sabrina’s song, with its humourous take on the subject, adds a fresh perspective. The song’s structure revolves around Sabrina’s love for her man and her desire to have his children,hence the Juno reference. In terms of production, it’s a quintessentially pop track.
Lie to Girls:
The first ballad appears on the penultimate track. This is the first time that she gets serious on the record. This heart-wrenching ballad tells an ex that there is no need to lie because if they like him, they will be gaslighted and accept his behaviour towards them. She also takes aim at her father, who cheated on her mother—stressing that she will not be as forgiving as her mother if a man does the same to her. She also confesses that she is no different from other girls as she gets gaslighted sometimes, even though she knows the relationship is doomed deep down.
Don’t Smile:
The closer is a dream-pop track, a genre that Katy Perry has skillfully utilised. The production feels light and brings the listener a sense of relaxation, perfectly fitting the dream-pop style. The song itself reverses a common adage, encouraging you to cry that it’s over and not to smile because it happened. Again, this is directed at an ex, and she is basically saying that he should regret losing her and that he struggles to move on. It’s a unique twist in a dream-pop setting.
Song recommendations: ‘Sharpest Tool’, ‘Taste’, ‘Good Graces’
Gracie Abrams’ journey into music started when she was five when she picked up her father’s electronic drum pad. It would lead to touring with Taylor Swift almost 20 years later, where she would be the opening support act for Taylor on her “Eras” tour. As you already know, the other support act was Sabrina Carpenter. I could only imagine that Gracie must have been looking out at the packed stadiums, astounded by the experience, which she probably thought might never have happened once, let alone 30 times. She would write her first song three years after being drawn to her father’s electronic drum pad. That eventually led to the Grammy nomination for Best New Artist. This year, she also made her television debut by performing on the Tonight Show presented by Jimmy Fallon—a far cry from her debut live performance back in 5th grade at school.
Back in 2020, she hosted a modest concert over Zoom when the world was locked down due to the pandemic. The venue was her childhood bedroom, and the performance was viewed by only 100 people using the application. She described the experience as “weird” and expressed that she hadn’t expected to achieve what she did at that point. Gracie was inspired to play the guitar after listening to the late Elliott Smith. He was a young man with a troubled soul who died (Although no one knows if he was murdered.)before his time, yet he inspired many through his brief career as a songwriter.
During her teenage years, she explored other artists’ music, like Radiohead and The Beatles, and even covered their songs. However, when she came across Phoebe Bridgers on Soundcloud, everything changed for her. Her deep admiration for Phoebe greatly influenced her debut album.
Her latest album, “The Secret of Us,” establishes her as a country-pop icon who emotionally connects with younger listeners. The lead single “Risk” incorporates elements reminiscent of Joni Mitchell, the rebel and poet Patti Smith, and the emotive style of the late Elliott Smith. However, the catchy, pop-friendly chorus offsets the melancholic themes found in the works of these artists.
In her second album, the artist shifted to a brighter and more distinctive sound than her debut, “Good Riddance.” The opening track, ‘Felt Good About You,’ draws inspiration from the jangly guitars reminiscent of Vampire Weekend and Taylor Swift-like choruses throughout the album. In ‘Blowing Smoke,’ she incorporates country tones from Sheryl Crow and Alanis Morissette’s rock attitude. Additionally, there’s a reference to Kate Bush’s iconic song ‘Running Up That Hill (A Deal with God),’ where she mentions the title within the lyrics.
In her debut album, I previously mentioned that Phoebe Bridgers was a heavy influence. This is evident on tracks like ‘I Love You, I’m Sorry’ and ‘Good Luck Charlie’, where her influence is obvious. Jack Antonoff, who interestingly also works with Taylor Swift, contributed his signature production style to the album. Aaron Dessner of The National, who also collaborates with Taylor Swift, co-produced the album, making it more pop-friendly compared to his usual work. This contrasts sharply with his work with his own band. You can hear influences from R.E.M in ‘Tough Love’ and ‘Normal Thing’. The latter sounds similar to Jamie XX. ‘Normal Thing’ stands out to me as favourite, partly because it sounds completely different from the rest of the album and is more uplifting with its dance beats.
Let’s face it: Phoebe Bridgers is a complicated person to emulate. Only a few artists break through after a debut album. Usually, it’s the second album onwards, where you iron out the mistakes made on the debut. Gracie has achieved this on her second album, and it is a far cry from sitting in her room learning to cover iconic songs from the artists and bands she listened to as a teenager. You can see she borrows elements from all of them to create her own identity. Her parents’ musical tastes can also be heard on the record, but her music is a blend of Taylor Swift and Phoebe Bridgers. Taylor Swift also appears on ‘us’, which reflects this. The experience of being on tour with Taylor has inspired her songwriting for this album, and she has more confidence in her delivery. The vocals are a lot stronger. This may not be her most iconic record, but it lays the foundations for the future.
Song recommendations: ’Normal Thing’, ‘I Love You, I’m Sorry’, ‘Risk’
Let’s dive straight into the track-by-track review:
intro (end of the world):
This short intro consists of guitar plucking an orchestra and vocal layering as Ariana asks questions about being in the right relationship.
bye:
From the intro, Ariana has made a decision: The relationship isn’t the right one for her. She conveys this over a power ballad inspired by the 1970s fused with disco-pop. I also loved her cheeky lyricism, where she says, “This hook feels too hard to sing.”
don’t wanna break up again:
Even though she expressed about leaving the relationship in the previous track, in this one, she doesn’t want that to happen because she doesn’t enjoy it when a relationship ends. She mentions crying herself to sleep while her boyfriend watches the television and turns up the volume to drown out her sobbing. She also toys with his emotions, which breaks his heart. Look out for the infectious chorus on this one.
Saturn Returns Interlude:
Someone can be heard uttering something. I don’t know what exactly. I have no interest in interludes.
eternal sunshine:
We arrive at the title track, where Ariana longs to clear her memories of the toxic relationship that consisted of arguing, lying, and cheating. This track occurs after the relationship has ended and both have moved on. In the song, she expresses that her current boyfriend is all she ever wanted. This is a quintessential Ariana song, but it has been included to keep on topic with the rest of the album.
supernatural:
Over this beaming ballad, she discusses that even though love can be a rollercoaster, we cannot live without love. Mariah Carey’s songs inspire the chorus during her prime in the 90s. Ariana’s vocal harmonies are the icing on the cake.
true story:
She now goes full-on 1990s RnB, and it is no surprise that it works because Max Martin was responsible for producing quite a lot of this genre back then. It reminded me of what the late Aaliyah, TLC, et al. did in the 1990s. I also heard En Vogue on this one, too. As for the story, Ariana becomes the evil girl/villain, which is a humourous dig at the media. Rumour has it that this song started as a parody track and was used for a shelved comedy project, so it comes across as cheeky and playful.
the boy is mine:
Ironically, it has the same title as the hit by Brandy and Monica, but even more ironically, the song is old-school R&B. This track, however, is about stealing a boyfriend from another woman. Ariana has fun with her sarcastic delivery and tongue-in-cheek lyrics.
yes, and? :
This is my favourite track off the record. It reminded me of all that 1990s R&B fused with house that I grew up with. Lyrically and sometimes sonically, it nods to Madonna’s ‘Vogue’. It is extremely upbeat and rather out of synchronisation with the rest of the album.
we can’t be friends (wait for your love):
As you may be aware, Ariana is going through a divorce at the moment, which explains the narrative of the record. This track is about her cutting him off and trying to avoid the media’s attention while she deals with it. Look out for the catchy hooks and yet more brilliant songwriting by Ariana.
i wish i hated you:
There’s nothing fancy by her vocally on this emotional ballad. Instead, you will hear her voice in its purest form over a cosmic-like production. This song got the better of her as, at certain moments, you can hear her voice crack as she expressed that she finds it hard to leave him because she doesn’t hate him.
imperfect for you:
This one was a shock. Considering her age, I was surprised the 60s would inspire her, but this has a Beatles psychedelic phase vibe. Don’t be fooled by the psychedelia within because this is another heart-wrenching ballad addressing her issues with depression and how it makes her relationships challenging.
ordinary things (ft Nonna):
As far as I knew, this was the only collaboration I heard on the album. This is another ballad that goes full circle with Ariana asking the question she did initially, concluding that the simple things only matter when you are with the right person because luxurious and materialistic items will never conquer love. Who is Nonna? Well, it’s her grandma, and on the coda, which is spoken, her grandma is giving advice about what to do in a relationship, and if she feels she can’t or is uncomfortable, then it is time to move on.
Song recommendations: ‘yes,and?’, ‘supernatural’, ‘i wish i hated you’
As you know, the Stone Roses guitarist John Squire joined Oasis onstage in 1996 at their iconic Knebworth Park shows to play lead on ‘Champagne Supernova’. He also repeated this on Liam’s return to the venue as a solo artist in 2022. Back when John was rehearsing the song with Liam, John mentioned that he was in the process of writing an album and needed a vocalist. He said that Liam’s vocals would be ideal, and from there, Liam listened to the demos and decided he would be interested in collaborating with John. Liam grew up a Stone Roses fan, and in the earlier Oasis recordings, his vocals sounded like Ian Brown. The duo would head over to Los Angeles to record the self-titled album in the studio.
Of course, the project only came to light during the first month of the new year, when the duo released their first single, ‘Just Another Rainbow’ —a typical Stone Roses-esque song.
Once it was confirmed that the duo was releasing a record, Liam described it as Stone Roses and Oasis in their prime. When you listen to the album, that is certainly evident. As you can imagine, there are many Beatles, Rolling Stones, The Who, et cetera, within the songs because those bands heavily influenced both of them.
As well as being a nostalgic record filled with romance, there are modern references in songs like ‘I’m So Bored’, where John attacks modern technology, expressing that we tend to live in our phones rather than connecting with the real world.
You can tell Liam and John had fun on the album, with Greg Kurstin on production. Many Liam’s fans complain about it not being full-on rock n roll. It was never meant to be. Stones Roses are more psychedelic, so this would always lean heavily towards that. Apart from finding the lyrics cheesy, I also found them quite basic, and Liam’s vocals feel strained and nasal over the music. John is excellent as always and has retained his ability to show his axemanship. It wasn’t my cup of green tea, but good luck to them.
Song recommendations: ‘Mars to Liverpool’, ‘Just Another Rainbow’, ‘I’m So Bored’
The duo played a few songs on Later…with Jools Holland back in May, and ‘Mountains’ stood out, which showed that this was an album to look forward to. Contrary to what occurred at BBC’s 1 Big Weekend festival, where Mike and Ben showed their disdain at the crowd for not giving their performance enough attention, their teasing of the record on Jools’ show showed that that would be water under the bridge as the duo still had the sound that everyone fell in love with in the last decade.
This is the Brighton duo’s fourth studio album, and despite being short, I enjoyed it. I have heard indifferent opinions on the record. My only complaint is it was far too short at 31 minutes 22 seconds( Even the bonus tracks see it under 40 minutes.). Still, at the same time, the duo appear to be taking it back to the days when a single played on the radio was extremely short (Usually just under 3 minutes or barely over.). The album is also their debut in producing their music, which has borne fruit. It is not because it has obviously hit the top of the chart, but because the songs are good. One of the factors of Royal Blood experimenting in the studio was there was no one to tell them to play it safe.
There are plenty of influences of the late David Bowie’s Ziggy Stardust-era on ‘the Firing Line’ and the Beatles during their psychedelic phase. We then have funk on ‘High Water’ and the usual metal sound on ‘Shiner in the Dark’. There are even quieter moments with piano ballads—something which we are unfamiliar with the duo.
I loved the guitar solo on ‘There Goes My Cool’. The album is an eclectic mix of sounds that has inspired Mike and Ben at some point in their lives, and we are only starting to hear it now the duo have self-produced. Of course, there is the usual lull, which is found on every record you have ever heard during the middle, but overall, despite its short length, this was an excellent listen.
Song recommendations: ‘the Firing Line’, ‘There Goes My Cool’, ‘Everything’s Fine’
I have decided to do a track-by-track review because it is the legends that are Blur. However, before I get to the review, I will introduce the band, as this is my debut review of them. They were formed in 1988 and initially named Circus before changing to Seymour. Damon Albarn was the sole member until bassist Alex James joined. Drummer Dave Rowntree followed in October before Damon recruited his childhood friend, who met when he moved to Colchester lead guitarist Graham Coxon. They then signed with Food Records in 1989. The label drew a host of names for the band as they were not keen on Seymour. They would decide on the name Blur.
They went on a UK tour in 1990 and released their debut single ‘She’s so High’, which reached 48th in the chart. For their following single, they worked with producer Stephen Street known for working with the Smiths and Morrissey, who the band were fans of. Stephen would produce the Stone Roses-esque ‘There’s No Other Way’, an instant hit with music fans and would peak at no.8 This would propel their status in the industry, but their third single ‘Bang’ was a total disaster peaking at no.24. Their label encouraged the band to keep the sound in line with the music coming out of Manchester at the time, dubbed Madchester. Their debut album, “Leisure”, came out in 1991 and charted at no.7.
Despite their mild success, they found themselves 60,000 pounds in debt and did a US tour in 1992 to clear their debt. They released their 4th single, ‘Popscene’, to promote the tour. It may only have charted at no.32, but the single would cement the Blur wall of sound we can still hear. The US tour was a bomb scare, with the members fighting and arguing.
When they returned, they worked on their second album, “Modern Life is Rubbish”, released in December, but then rejected by the label and wasn’t ready for release until May 1993. ‘For Tomorrow’ was 28th, and the record charted lower(15th)than their debut.
Their third album, “Parklife”, released the following year, got Blur the recognition they finally deserved. It helped that Oasis was being talked about and revived the Indie scene. For Blur, ‘Girls & Boys’ went in at no.5, their highest entry, but even better was “Parklife’, which became their maiden no.1 album. The band would win four awards at the 1995 Britannia Music Brit Awards.
The band would release “the Great Escape” the following year, which also went in at no.1, and they also went head-to-head with Oasis summer when they pitted their ‘Country House’ against the Mancunian’s ‘Roll with it’. Blur would beat Oasis to the no.1 single spot, and in the process, the media made up a bullshit ‘war” between the two bands, which saw fucking brainwashed idiots taking sides instead of appreciating both bands’ music.
Blur released their self-titled the following year, departing from the “Britpop” sound. Especially with the heavy rock song ‘Song 2’. Their first single, ‘Beetlebum’, a song that Noel Gallagher recently confessed that he thought was their best song and wished he had written.
Blur gave themselves a bit of a break and released “13” in 1999, which spawned the hits ‘Tender’, and ‘Coffee & TV’. “13” was yet another no.1 record. The next album would be in 2003 without their lead guitarist Graham Coxon and would be replaced by the Verve’s Simon Tong (Yes, his brother was the drummer for Bloc Party). “Think Tank” would also at chart no.1. There were several rumours in 2004-07 of the band working on extended plays, but these never happened, and without knowing it, the band disbanded.
They would reform in 2009 for a Hyde Park show, but it was Glastonbury, which would prove successful, and the fans hoped the band would stay together. They also headlined Oxegen and Tennents in the Park the same year. The band released their second greatest hits album after the successful reunion shows.
There would be several accolades and documentaries released before 2015 when the band announced they were back with their original lineup and released “the Magic Whip”, recorded in Hong Kong during a five-day visit in 2013. The band would hibernate after touring “the Magic Whip” until 2019 doing a special gig in London.
This brings us up to the present, where the band played EE Stadium, Wembley last month, and then played “the Ballad of Darren” in its entirety at AventimApollo last month. This will be the only time the new album will be played in its entirety live. The event was broadcasted online via a paywall, and of course, those who got tickets to witness it at the venue. Now, let’s get on with the review. I have given a long enough introduction to the band. I will also add that the album is named after their late security guard Darren “Smog” Evans:
the Ballad:
The opener begins with a drum machine that sounds tinny over minor keys and reflective vocals. This appears to be a hallmark of Damon’s solo material, but luckily for him and the listener, his bandmates from Blur are there to give the track more life akin to Blur. Graham Coxon especially rescues the song with his unique guitar playing and his backing vocals, then Alex James with his signature basslines. It is like Blur hasn’t had to shake off the rust of being absent from the studio for a decade.
St Charles Square:
For me, this track was the quintessential sound of Blur from the 90s and reminded me of tracks such as ‘Girls & Boys’ and ‘Charmless Man’. Again, Graham takes centre stage with his overdrive guitar tones.
Barbaric:
This is Damon putting the Gorillaz sound onto Blur. The subject, though, is not of the kind associated with the Gorillaz, as it is about a relationship falling apart and one of the lovers being hopeful yet bitter about it. However, they adopt something that Damon’s now friend Noel Gallagher is exceptionally good at blending melancholia lyrics over upbeat instrumentation. Staying with the Manchester thing, this track has an instrumentation that Morrissey and Johnny Marr excelled at within and outwit the Smiths. Graham Coxon’s intricate guitar playing gives the melancholia of Damon Albarn hope.
Russian Strings:
A more delicate side to the band, which sounds like ‘the End’ with overlaying guitars slow fading on the outro.
the Everglades:
So far, ‘St Charles Square’ is the only track that has resembled Blur’s 90s sound, and this track doesn’t give us a glimpse of it happening anytime soon. In fact, with the plodding acoustic guitar, this is more Simon and Garfunkel, complete with strings.
the Narcissist:
This was the track that everyone heard before the album was announced, and it was safe to say that it was an instant hit with their fans, but also music fans in general. Again, another track with melancholia but enveloped in 80s pop and 90s American Indie, so an example would be the kind of music associated with Pavement. There is also that tinny drum machine featured at the beginning of the record with Dave’s stomping drums to save the percussion element. Who wants to listen to a cheap drum machine without an actual drummer? This song is already featured in the band’s encores of their “the Ballad of Darren” tour, which shows that this track is already on its way to becoming a Blur classic.
Goodbye Albert:
Graham’s axemanship shines through as he blends aggressive with tender playing through the use of the pedal effects, so there is a lot of distortion. Alex hasn’t gone for his rapid playing on this, but rather a sense of delicacy with the bass. The lyrics delivered by Damon are him departing from his youth and entering into a more mature yet darker side of getting older. Also, as he confessed to Zane Lowe recently, he finds it difficult to sing the early Blur songs because his vocals were more youthful then, and now his vocals are a lot more bassy as he has got older. This song may be about Damon letting go of his youthful vocals and adopting the bass vocals he has acquired with age.
Far Away Island:
Damon has done many far-out projects outwith of Blur, and this one is a Brian Eno-esque experimental track. A psychedelic track over strings, with Damon adopting the vocals of a junior school kid. Will it go down well with the fans? Why not? Brian Eno makes far-out songs, but it works. You have to look at U2’s “the Joshua Tree” as a good example.
Avalon:
As we approach the end of the record, you can sense a more upbeat vibe as ‘Avalon’ opens with horns. The track itself hints towards uplifting moments, which is briefly interrupted by the sound of fighter jets ready to engage in aerial combat. The lyrics reflect the fighter jets in aerial combat, but there is a particular sinister lyric where Damon says, ‘Then I overdo my dose, and I don’t even know I’m here anymore’, which could also mean that the fighter jets are a metaphor for one taking an overdose to end their life. However, after that verse, Damon utters the line, ‘but the glass is still half-full. As mentioned earlier, the track, on the whole, is uplifting and full of optimism, then countered with the fighter jets sample. This could well be Damon feeling in turmoil about the future. I am unsure why he would feel this, as he is among the great songwriters.
the Heights:
A nod to the late David Bowie with an acoustic guitar at the intro that sounds like David’s tenure as Ziggy Stardust and the classic ‘Space Oddity’. Damon’s vocals follow. Then, of course, the rhythm section consisting of Alex and Dave brings the uplifting element. Graham had a backseat over this Sgt Pepper’s-esque track, or their counterparts Oasis who had the Beatles-esque ‘All Around the World’. Unfortunately, although they tried to element that exquisite sound of the Beatles, or Oasis, it didn’t work. The track has far too much going on, so it sounds like a mess. The band should have finished on ‘Avalon’. Yes, it had brief melancholic moments, but the rest was bombastic and uplifting.
Overall:
I will add an overall summary because you might look at the track-by-track review and think, “Fuck that. It sounds shit”. However, that is not the case at all. Yes, it is an experimental laced with Ziggy Stardust, Brian Eno, and Pink Floyd, but that adds to the mystery of Blur. They shouldn’t be known as an Indie outfit, but that is willing to evolve, and that’s the case here. I sincerely hope the band do not call it a day after the current tour because they are working as a unit in the studio and onstage. Damon and Graham have had strong chemistry since the band reformed in 2009, and the music is better for it.
Song recommendations: ‘St Charles Square’, ‘Avalon’, ‘Far Away Island’
Honest Opinions 