the Smiths

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

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

Everybody’s on the Run: 

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

the Death of You and Me:

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

AKA…What a Life!:

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

if I Had a Gun…:

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

in the Heat of the Moment:

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

Riverman:

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

Lock All the Doors:

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

the Dying of the Light:

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

Ballad of the Mighty I: 

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

We’re on Our Way Now:

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

Black Star Dancing:

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

Holy Mountain:

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

A Dream is All I Need to Get by:

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

This is the Place:

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

It’s a Beautiful World:

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

Blue Moon Rising:

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

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

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

Flying on the Ground:

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

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

9/10

Week 11: Kings of Leon- When You See Yourself

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

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

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

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

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

8/10

Week Thirty-Eight: Doves-Universal Want

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My first experience (Knowingly.) hearing the band from Manchester was while I was playing FIFA 06 in October 2005 when “Black and White Town” came on the official soundtrack. Not my favourite of theirs, but it did pique my interest and made me want to check them out. I was probably intoxicated at the time, but I had heard them three years back on Later…with Jools Holland, even before then, if I am being honest. Their songs “Cedar Room” and “There Goes the Fear” were everywhere, from radio to television adverts. Those two being my personal favourites of theirs. Not forgetting their acid house classic “Ain’t No Love (Ain’t No Use)”. Pardon? Yes, that’s correct. Doves started as Sub Sub in 1991 until 1996, when they worked with New Order’s Bernard Sumner. Since then, the members of Sub Sub decided to change direction with their sound and formed Doves in 1998, just after releasing “Delta Tapes” as Sub Sub.

Anyway, this is their fifth album after eleven years on a break, which initially was supposed to be the end of the band after 2009’s “Kingdom of Rust”. Jimi Goodwin even suggested during a gig in 2010 that it would either be one of their last or their last. But he was constantly dropping hints that maybe it wasn’t the end of Doves, a bit like the Stone Roses (Fucking hell. That’s the fourth Manchester band mentioned so far.) it looks like they have split again, but there is no confirmation on the official site or any announcement made. It’s just like Ian Brown with a cryptic quote, but he wants to concentrate on his solo career now. Jimi had been dropping these hints for six years and leaving cryptic messages via social media that maybe Doves were returning. And this year, they announced a string of gigs supporting various artists, but no mention of a new album that features the production of Dan Austin, who did their previous album. This one has been recorded at Frank Bough 111 Studios.

Now, I will do something different than usual with these reviews and do a short but sweet track-by-track review. Kind of a summary, if you will:

Carousels: Reminiscing about childhood experiences, especially at fairgrounds.

I Will Not Hide: Great vocals with a spine-tingling guitar solo. It’s very psychedelic over chill-out style music.

Broken Eyes: Doves, the Smiths, and Toploader. Save for Toploader, it is that typical Manchester sound.

For Tomorrow: Inspired by Portishead with the trip-hop.

Cathedrals of the Mind: a Hymn-like anthem dedicated to the late David Bowie.

Prisoners: Funk with remnants of “Black and White Town”. One that is ready for their setlist for when they go back on tour.

Cycle of Hurt: Returning to their debut album “Lost Souls” in 2000 with this ballad.

Mother Silverlake: An autumnal track that is very much country funk.

Universal Want: A segmented track that goes from acoustic guitar back to their acid house days and into old-school techno.

Forest House: A mellow ending.

Song recommendations: “Broken Eyes”, “Prisoners”, “Universal Want”

8/10

Week Seventeen: Gerry Cinnamon- the Bonny

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

Canter:

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

War Song Soldier:

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

Where We’re Going:

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

Head in the Clouds:

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

Dark Days:

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

the Bonny:

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

Sun Queen:

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

Outsiders:

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

Roll the Credits:

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

Mayhem:

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

Six String Gun:

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

Every Man’s Truth:

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

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

8/10

Week Twelve: Niall Horan- Heartbreak Weather

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Of course, the lad from An Muileann gCearr (Mullingar) found fame after appearing on the X-Factor in 2010, where the band One Direction was put together (they finished third in that series.) and rapidly rose to be a world-renowned boy band. The band is no more at the moment, but that is a very grey area as the members are embarking on solo careers. Niall has remained grounded by all the success One Direction had and would prefer playing Oasis songs on his acoustic guitar and playing golf when taking a break from recording and touring.

If we are all being honest (Well, the Directioners, anyway.), no one was making any fuss about Niall’s solo career. The focus seemed to be on Harry Styles and initially Zayn Malik as well, but through this lack of expectation, Niall has been free from having a monkey on his back, and it seems to have worked as he is having a better solo career than the rest of his band mates. His debut album “Flicker” in 2017 went to the summit in three countries, including his native Ireland. 

As I listened to the opening track, which happens to be the album track, I was unsure if I could endure the ensuing forty-three minutes. It reminded me of the 1975, and if you know me well, I cannot stand that band. Despite the opener, you do have a range of tracks. “Black and White” sounds like One Direction, “Dear Patience,” and the closer “Still” are like ballads over acoustic guitars. “Arms of a Stranger” feels like a Lewis Capaldi piano ballad, and funnily enough, Lewis will be one of the support acts when the “Heartbreak Weather” tour begins in October (Well, maybe. With what’s going on in the world

at the moment, who knows?).

“Cross Your Mind” is a blend of the old with the new. I say this because the acoustic guitar reminds me of something Johnny Marr would have played in the Smiths. It probably is a sample of a Smiths song or a Johnny Marr song. When I heard it, it did sound very familiar. I was very excited to listen to the track after hearing that Johnny-esque intro, but then it went all modern and sounded like a typical pop song of late. It’s an utter shame, really, because a Johnny Marr-style song is what this record needed. Yes, Niall was trying to appeal to the Directioners as much as possible, but this lad is an indie rock fan. “Nice to Meet Ya” is where Niall chose to go all indie rock, though. Sounds very much like Arctic Monkeys infused with Kasabian. However, I think Niall is going to go down the synth route. 

I would like him to release something more to his taste as it’s risky and shows that he is not afraid to cause shock waves. The loudest ones in One Direction have had moderate solo success, but as they say, the quiet ones are to be watched. Even though Niall was quiet in the band, his actions speak louder than his words. I don’t mind listening to a whole One Direction album, but once a day is enough. The same goes for this record. If I was young enough to be in that generation, I might have got it more and be listening to it more than once a day. That being said, I like Niall and wish him every success. Why? Because he isn’t a dickhead and is more talented than the rest of the band. 7/10

Week Forty-Eight: Noel Gallagher’s High Flying Birds- Who Built the Moon?

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1

Here is the track-by-track review of the third album:

Fort Knox:

 Noel has gone on record saying that this track was written for Kanye West, but he thought it was so good that he felt he deserved it more than Kanye. Anyway, the track has repeated lyrics and guitar chords, albeit when he starts repeating, “You’ve Gotta Get Yourself Together”. This track would be good as an introduction to the forthcoming concerts or great as an alarm clock (Although I doubt you would wake up to such smooth music.) I like the album after just one track and am pleased that David Holmes has sent Noel far out compared to the trademark Oasis-style wall of sound. Will Oasis fans who are narrow-minded like this? Probably not, but they’re fucking idiots, anyway. More on that in the overall review.

Holy Mountain: 

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

Keep on Reaching: 

David took Noel out of his comfort zone with this track with some soulful vocals followed by an instrumental section that could only be described as funk inspired. The beginning also features some excellent keyboards and a ballsy kick drum.

It’s a Beautiful World:

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

She Taught Me How to Fly: 

This track is a weird one for me. Although it isn’t my favourite, it certainly is one of my favourites. I love the lyrical content, and I fucking love playing it on the guitar. This ode to his wife, Sara, has a sound that is very close to New Order. Some may disagree, but this track could easily have been made for New Order. It has a bass style similar to that of New Order’s former bassist, Peter Hook. Noel has headed back to the Madchester days with this.

Be Careful What You Wish for: 

This track was written as a message to his three children on what to heed and learn from life as they grow older and more aware of the world. Again, this track is far out for Noel, and it is a continuous melody throughout, albeit with a slight change in the chorus. This is probably the most anti-anthem song he has done since “(Get Off Your)High Horse Lady” with Oasis on their final album from 2008, “Dig Out Yer Soul”. I have heard this song live, which is indeed a song that cools down the audience. I think he will only play this live for the children. The message conveyed is the preaching you would hear in Speakers’ Corner. If I recall correctly, he said this song was born after he walked through Speakers’ Corner in the summer of 2017.

Black & White Sunshine: 

This is my favourite off the record, but that changes every day. Albeit, this track remains at the forefront of my heart and mind. I love the message conveyed and the upbeat feel of the track. The vocals delivered with a punch the air passion. This is Noel’s “Fuck you” track for all those who want to bring evil to the world. Is this as close to the Oasis wall of sound on the album so far? Not for me. It is still a track that Noel would only sometimes do, although in some reviews I have read, they believe that to be the case. No matter what you might think, this track leaves me feeling optimistic and cheerful.

Interlude (Wednesday Part 1): 

Why, oh why, do artists/bands have these? Oasis was very guilty of having interludes, but they are nothing more but throwaway tracks chucked onto a record because, who the fuck knows? Utterly pointless. Just throw on a track that didn’t quite make the cut. At least, it will be a completed song. Noel has said that the interludes featured on the record are, indeed, songs that are uncompleted, that he may revisit at a later date. The song features acoustic guitar, drums and bass before being accompanied by synthesisers. Nothing much else to say.

If Love is the Law: 

The first track to feature another artist on the record in the shape of Noel’s good friend, Johnny Marr, who plays guitar and harmonica. This track has a Smiths sample (I think Johnny is playing “Hand in Glove” on the harmonica, I’m not entirely sure, but it’s definitely from a Smiths track.), so how appropriate Johnny features?

It is worth noting that Noel’s estranged younger brother, Liam co-wrote a song with a similar title with Chris Helme of the Seashorses (It went on to be a hit in 1997 and is one of the songs synonymous with the band.).

the Man Who Built the Moon: 

Wow. This is the title track, albeit the name is slightly changed. I love this track; it is majestic and features haunting keyboards, complete with lyrics that appear to be less of a song and more of Noel narrating a fable. This is very much a departure from Oasis, as I think the song could be used for a Science-Fiction film like Star Trek or some insane film about space by Steven Spielberg. The chorus is littered with horns, which adds to that whole feel about it.

End Credits (Wednesday Part 2): 

Ah, dear. Here we go again. Although it is an improvement from the first part, interludes do not belong on an album. The keyboards are very angelic, though. This is the end of the standard album, but I am reviewing the Deluxe edition, complete with the Japanese bonus track.

Dead in the Water: 

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

God Help us All: 

This track features as the Japanese bonus track and was first discovered in 2007 from a studio session for, I don’t even know. It might have been “Dig Out Yer Soul”. This track was also played in a soundcheck during the ill-fated 2008/09 Tour for “Dig Out Yer Soul” during Noel’s last few years in Oasis. This song has kept much of those two versions, as you get the impression it was recorded in an empty theatre and sounded like a demo. There are rumours it was re-recorded during the “Noel Gallagher’s High Flying Birds” studio sessions in 2010 and 2011 but wasn’t pursued to feature on the final track listing for the 2011 debut album. I forgot to mention that it also re-emerged on the “High Flying Birds” Tour of 2011/12 with a new verse featured on this recording. Anyway, he plays acoustic guitar while singing about what appears to be Armageddon.

Overall: 

It is no secret that it was, indeed, Noel who inspired me to write and pick up a guitar and several other instruments back in the mid-1990s. I also make no secret while everyone else preferred Liam at school, I aspired to be Noel and have been a fan of his from my very first listen to Oasis. Once again, Noel has proved why he is a tremendous songwriter. Even taking him out of his comfort zone while working mainly in David Holmes’ home studio, Noel has made it work. David got Noel listening to some rather obscure music and even got him to play instruments Noel tends to struggle with and would only dare play live once he has played them enough to feel comfortable with. Noel was originally very disheartened and didn’t believe working with David was the right decision. David would tell him time and time again to stop writing songs that sounded like Oasis. Indeed, for “the Man Who Built the Moon”, David got him to write out 26 choruses before he was satisfied with Noel’s 27th attempt. So..back to earlier, the Oasis fans, whom I have referred to as “fucking idiots”, are mainly what I like to call the “Supersonic 2016 Generation”. They appeared after the 2016 film and could not get past how Noel’s singles for this were totally different from Oasis material and therefore proceeded to bash it and generally be narrow-minded. An artist is free to express their music however they want. Something lost on these bunch of twats. Also, going back to another point earlier mentioned during “It’s a Beautiful World”, Noel has made a record that is very much upbeat and spits in the face of the evil people in the world who want to destroy the earth. He has even said that this record was about feeling great and upbeat and taking our minds off all the bad things we hear about in the mainstream media. I would love to score this album perfectly, but the interludes are where it falls down for me. It is also perfect, and even if you don’t get it after a few listens, it will grow on you. 9/10

Week Thirty-Eight: Foo Fighters- Concrete and Gold

~ honestopinions19 ~ Leave a comment

Concrete_and_Gold_Foo_Fighters_album

Here is a track-by-track review of the latest album by the Foo Fighters:

T-Shirt: 

This is an exciting start to the album. I wonder what the thinking behind the concept of opening with a short song is about what the title suggests. But it’s what adds to the magic of the Foo Fighters. They purely just don’t give a fuck about making music to line their own pockets. They do as they please, so in all fairness, this type of song isn’t a surprise when you consider, they have done a parody song about Mentos (“Big Me”. Remember that? What a fucking brilliant song that was.). I must admit that whenever I see a pack of Mentos or see someone consuming them, I think of the obligatory video in my head, making me smile. They even have a comedic lyric in this song that makes me smile whenever I hear it. “I don’t wanna be Queen, Just trying to keep my t-shirt clean” Only they would come up with a song such as this that would leave most record major labels recoiling in horror, but they don’t care. Fair play to them.

Run: 

The second track is quite funnily the first single released off the record earlier in the summer as a teaser, some might say (How ironic that I mention an Oasis No.1 single there when you consider Dave Grohl is an admirer of theirs? Foo Foos even covered, “Lyla” for BBC Live Lounge (I think).). Was this track a safe bet to release as a single to tease the album? Well, in short, probably. It would undoubtedly have got avid fans on board because it is definitively Foo Fighters. Frontman Dave Grohl starts very laid back in his delivery before getting more aggressive and full of rage (You could say very passionate.)as the chorus reveals the song in its traditional Foo Foos glory.

Make it Right: 

Well, here is one thing I didn’t expect from a Foo Fighters record, but it shows that they won’t bow down to what record companies want their artists to churn out. The former NYSYNC member Justin Timberlake is featured, but calm down if you’re a Foo Foos fan who disagrees with pop stars working with the band. Just relax, okay? It is better than you think. All Justin does is some melodic vocal ranges. Dave is still the chief vocalist and in control of what one would describe as a ballad full of pain.

the Sky is a Neighborhood:

Once again, another song featuring a fellow musician. This time it is none other than someone Dave and the rest of the band genuinely admire, the former Beatles, Wings and Nirvana (You heard me right. Nirvana. Albeit very briefly in 2013, I think.) member, Paul McCartney. Shockingly, Paul isn’t on the guitar or piano but takes over from Taylor Hawkins on this one (The band’s drummer if you still need to learn.). Another ballad that talks about the universe and how we behave on this planet affects it.

La Dee Da: 

It’s not to discredit the following band I am about to mention, but this had an Aerosmith feel. I have to confess that I can’t stand them. Maybe, it was hearing “I Don’t Want to Miss a Thing” on every fucking radio station during 1998 when the film Armageddon was released in the summer that put me off them? I don’t get the hyperbole surrounding them. Dave is channelling Steve Tyler’s vocal spirit in this one, and all the screaming takes away the listener’s chance to get immersed in the lyrics. Music isn’t about listening to the beat or your favourite instrument, but rather the music as a whole. I like listening to it all, but I switched off quickly from this song, waiting for the following track. I will need to Google the lyrics to this track to see if the song is deprived of its beauty.

Dirty Water: 

A sobering song on the record. As we know, the Foo Fighters are known for their energetic rock numbers, but this one is more like hearing those rock anthems we have come to love by them stripped back and revealing the very soul. I say that, but it starts to get progressively more rock as it enters the chorus. Although, it does begin with Dave’s soft vocals and a very original direction sonically for them in the shape of something you would hear from the Caribbean islands. It again shows that they are not afraid to experiment and change direction. A very refreshing track indeed.

Arrows:

This track tells the story of a girl who is eaten up by all the evil in the world. The following lyrics tell the whole story in a nutshell of the song. “She had arrows in her eyes, Fear where her heart should be, war in her mind”. A lyrical track like this would fit nicely with a Morrissey song or even the Smiths if they were still around. It also reveals chillingly how the modern world is. So many people are consumed by war, fear and just pure evil. I would want to get off if this is how everyday life will go.

Happy Ever After (Zero Hour):

Ah, a track that repeatedly poses that age-old question, does this exist, or are we all waiting in vain for that moment? As we reach just over the halfway point of the album, the mood has changed to a significantly slowed folk pace (I would say so.). The guitar is gently plucked as Dave sings with a very calm and serene voice. He even dashes your hopes of superheroes ever existing (We know they don’t, but still. What a bastard, eh?) while asking, “Where is your Shangri-la, now?”. I loved the whole melody in the song and the mini guitar solos you can hear midway through and on the outro. I was trying to put a similarity on this one and couldn’t think of just one that would be in the same vein with the nature and the sound of this track (Nick Drake, Bob Dylan, Damian Rice, John Mayer, Bon Iver, to name a few.). I also had this image; I’m sitting in an American village near the cornfields while watching the Foo Foos play this one on the porch. Surprisingly, what I found refreshing about this song, is that you can hear whoever is on the rhythm guitar (Dave maybe?) when they change frets. They can remove this element with all the technology at the disposal of the producers and sound engineers in the studio. Still, it adds to the authenticity of actually recording in the studio. Plus, you hear them changing the frets during live performances on acoustic songs.

Sunday Rain:

One of my favourite parts of a Foo Foos record. The time for Taylor Hawkins to step up to the plate and take lead vocals (He even has a cover band where he performs Queen songs. I forget the name of it.). I am a big fan of “Cold Day in the Sun”, so I loved this track on the same level. The song starts with a steady drum beat followed by a guitar solo, which I could easily see being played by Noel Gallagher. Taylor says that after your wild weekend is finished, don’t approach him with sympathy and drag down his mood while you nurse your hangover. He is indeed talking about life in general. He wants to enjoy living in the moment than listen to all your melancholic fables. There are lessons some individuals can take away from this.

the Line: 

Ah, a typical Foo Foos track (Lyrically, anyway.) that talks about everything we put on the line to get to where we are heading. We must endure all the blood, sweat and tears because otherwise, what is our end goal? Is there any point in doing this if we cannot throw all our cards on the table to seek our destiny? It sounds like a song by an Indie band in England that I can’t think of at the moment (Skint and Demoralized, I guess.). I love the message conveyed in the lyrics, and I strongly recommend you listen deeply. I will say that sonically, this sounds more English Indie. If Dave’s vocals were not on it, I would have assumed that an indie band from England was on this track (Let’s not get pedantic. I mean, if it wasn’t on this record, obviously.).

Concrete and Gold:

The title track sends us to the end of the road (Cheesy line when you consider what will be mentioned soon.). The final track features Boyz II Men member Shawn Stockman doing backing vocals on this eerie ballad as Dave talks about maybe a relationship between two lovers and how the roots of it are more potent than concrete, which makes it hard to let go as it is littered with gold to the two lovers, even though to those of us looking from the outside, it is heading towards impending doom. Very strange ending to the track that builds slowly in verse one, hits its peak in the chorus, drops off in verse two, rises again in the chorus, and drops to an even slower pace than the introduction and verses in the interlude that lasts about a minute, repeats the same cycle for verse three and the chorus and then ends with a whole minute of feedback.

Overall: A perfect record indeed, and I especially liked “Sunday Rain” and all of the lyrical messages conveyed on the majority of the tracks and how it could be seen as very educational on how to live our lives and heed the warnings of what the consequences could be if we don’t learn to bring peace to the world. My only issue with it (Apart from the cringeworthy “La Dee Da”) is that after five tracks, the pace drops dramatically and never rediscovers the moment when we have that punch-the-air feeling to see off the record with a bang. The title track to close off the album could have ended in true Foo Foos fashion, which I would have loved to have heard, rather than them going out with a cerebral ballad. In my opinion, every record should have an upbeat introduction, a full-on first section, a calm middle section and then an frenetic closing section. 8/10