This will be a short review. I have never been a fan of the band, which is a great shame because, as a person, I like Olly Alexander. During the Lockdown Edition of Later…with Jools Holland, he spoke to Jools and gave reasons for selecting certain songs. These are songs that surprised me when you consider his age. There were some rather bizarre choices of bands from before he was even born. He came across as warm and spoke about the songs as if he was there before he even came to exist. I had a lot of respect for him after.
A lot of water has passed under the bridge since their last album in 2018. It is no longer a band but a solo moniker for Olly. I ended up zoning out or skipping tracks on the record. My interest didn’t pique until the tracks with Kylie and the version of ‘It’s a Sin’, which also features on Elton John’s album released last year.’A Second to Midnight’ and ‘Starstruck’ are phenomenal uplifting tracks and make you want to go out and find the nearest dancefloor to enjoy yourself. I loved the club feel to them. Of course, ‘It’s a Sin’ is excellent, as I mentioned in Elton’s review, so there is nothing more to say. It’s a shame the rest of the album was generic pop.
Song recommendations: ‘Starstruck’, ‘A Second to Midnight’, ‘It’s a Sin’
I will do a track-by-track review of the Script’s first greatest hits album. I might add that I was disappointed that my favourite track, ‘the End Where I Begin’, wasn’t featured:
Breakeven:
This was their third single off the self-titled debut album and followed a specific song theme pattern. However, this track was more hard-hitting and spoke about one person from a former relationship “falling to pieces” and not wondering what to do while feeling choked up when the other seemed to be “okay” about the breakup. Danny O’Donoghue’s melancholic and heartfelt vocals deliver this song with conviction.
the Man Who Can’t be Moved:
The music video tied in brilliantly with the lyrics and the theme. Again, taken from the debut album, this track was the second single and depicts a man who will not move from the corner of the street until the woman he loves shows up and feels the same way. Indeed, the man in the song asks people to tell her where he is. This indicates a metaphor for being in a relationship. While it might be falling apart, the man will fight to show his heart is still in it. Again, Danny’s vocal delivery makes the song believable.
For the First Time:
This track would be the teaser for their second record, “Science & Faith”, released in the late summer of 2010. It stays within the songs off their debut album. Indeed, it might have been written back in 2007 when they went into the studio but wasn’t quite ready to feature on a record. The track is similar to ‘Breakeven’ again. It is aptly named because they fall back in love like it was for the first time. However, this time, there is still a relationship ongoing, albeit in a dire state, but both are willing to act like adults to make it work, which happens by the end of the track. Again, the lyrics are about fighting to save a relationship with lyrics like “Oh, these times are hard, yeah they’re making us crazy, don’t give up on me baby”.
Nothing:
The second single off, “Science & Faith”, ‘Nothing’ showcased Danny’s vocals with the ability to be a swooner and blend thatwith his forte of being heartbroken at the same time. The guitar riffs and the piano took you to a place where the Script had yet to achieve on their debut.
Hall of Fame:
Taken from their 2012 and rightly named album “#3”, the band teamed up with Danny’s fellow mentor on the Voice and the Black-Eyed Peas member, Will.I.am. However, I am not a fan because, in general, I am not a fan of Will.I.am. He spoiled the latest Black-Eyed Peas album with that shitty software I can’t stand that alters your voice and makes it sound bloody awful rather than improving it. To think, Tupac was a fan of theirs back in the early 1990s. If Will weren’t on it, I would like it because, as usual, Danny’s singing and rapping are excellent.
If You Could See Me Now:
The third single from “3” is more about closure as the band discusses personal loss. Danny talks about losing his father on Valentine’s Day suddenly the previous year, and guitarist Mark Sheehan wanted the lyrics to include the loss of his mother after a long battle with a horrible illness a few months before Danny’s loss. Just listening to it, you could hear that the emotion was still raw and resonated with all of us when experiencing the feeling of losing someone close to us as well. A piano can be heard at the intro before Danny raps the opening verse. The tempo attracts your ear, and the lyrics make this a heartfelt song. The chorus is kind of catchy, albeit melancholic.
Superheroes:
The teaser for the 2014 album “No Sound without Silence”, Superheroes isn’t my bag, and I have never enjoyed the track. It just didn’t have that get-and-go like their songs do. They just seemed too safe sonically. Lyrically? They are up there with their best.
Six Degrees of Separation:
The second single from “#3” is a masterpiece. It perfectly explains what we feel after breaking up with someone we fell deep for. Bizarrely, despite the topic, it is quite an uptempo ballad. The chorus is where Danny’s vocals spring to life as he delivers the details with raw emotion, and surprisingly, it is catchy for such a thought-provoking track.
Rain:
This would be the teaser for the record, taken from 2017’s “Freedom Child”. Again, another song of theirs I am not a fan of. I was impressed by Danny’s falsetto, but I don’t know. The track just didn’t fit at all.
Arms Open:
The second single from “Freedom Child” again is lyrically beautiful. The message is that it doesn’t matter if you are alone when dealing with something because there will always be someone to hug you through the bad times. I found the song to be a traditional song for the Script, and the stripped-back sound elevated Danny’s vocals while the listener could relax and feel at one with themselves. It is worth checking out the video where the band worked with the charity A Sense of Home, which helps children find homes who are too old to be in foster care.
the Last Time:
The teaser off their latest studio album, 2019’s “Sunsets & Full Moons”, was released in November, a few months before all this shit happened across the world. As the title suggests, it deals with one of the lovers feeling like they are seeing the other one “for the Last Time”. The band sure knows how to draw the listener in with the relevant topics and the catchy melody, and of course, Danny’s vocals make this another great track by the Script.
Run Through Walls:
It is the second single off the aforementioned album. Once again, it was a brilliant subject and lyrics by the band. Just read this from thechorus; “I’ve got friends that will run through walls, I’ve got friends that will fly once called when I’ve got nowhere left to go, and I need my heroes, I’ve got friends that will run through walls”. Have you read them? Catchy as fuck, wonderfully executed with falsetto vocals, and what a beautiful message about the real ones who have your back and who are not related to you. The first verse addresses how true friends have saved his life (Whoever that is, I am not sure of because the band share ideas, melodies, and lyrics together.), and the second verse, the death of his mother, is brought up, and how the real ones were there and helped him through it.
Before the Worst:
The final single off the self-titled debut album again shows Danny’s vocal ability. It is about a boyfriend trying to return to the point of the relationship where everything was right and they were happy. The lyrics are typical heart-wrenching verses and choruses by the band. I also felt it sounded (in the chorus at least.) melodically like Kate Bush’s ‘Running up that Hill(A Deal with God)’. Yes really. Pay close attention to Danny’s delivery next time.
We Cry:
The teaser off their debut album, and as you have already worked out, the single that started it all. It caught your ears back in 2007 because there was no band coming out of Ireland who mixed guitar music with rapping (Sorry if I have made a mistake there. I think the rapper Redzer might have done that. I am not sure at the time of writing.), and that was refreshing to hear. Now, at the time, I listened to this song unconsciously, and my interest came in when ‘the End Where I Begin’ was featured on a FIFA console game soundtrack. The track has many different characters talking about their struggles, from a teenage single mother to a drug addict, et cetera. Danny described the melancholic song as people who are all experiencing hardships coming to cry together and, therefore, sharing the burden.
Science & Faith:
The title track off the 2011 album would be their last single. The song is up there as a fan favourite because it is a wonderfully composed love song. The lyrics are always the standout and why the band is well respected. It talks about finding “the one” and how, even though there are bumps along the way, you are destined to stay together until the end, which is quite a surprise from most tracks by the Script. I heard this song is written from Mark Sheehan’s point of view. Considering the song’s name, it all makes sense and falls into place.
No Good in Goodbye:
The second single from the 2014 album “No Sound without Silence” made my ears prick up. I love the wordplay used in thechorus and the metaphors in the verses. Again, the band touches on heartbreak and how to overcome it. The chorus was melodically similar to Duran Duran’s ‘Ordinary World’.
Never Seen Anything “Quite Like You”:
A surprise on “Tales from the Script”. This is the first and only track not to be released as a single. It is taken from the 2014 record “No Sound without Silence”. Many may disagree with me, but I heard elements of Ben Folds Five and fellow Irish band the Corrs. I could imagine Sharon Corr playing the fiddle and Ben on the piano. This love ballad is upbeat, and you can imagine this being played on St Paddy’s Day with everyone clad in green, stamping their foot, and clapping in time with the beat. Even the Script can write upbeat songs once in a while.
I Want it All:
It’s the exclusive teaser for this very album. The song contains all the elements associated with the band, and as usual, the lyrics stand out and pull away at your heartstrings. The music is sad yet subtle and goes along slowly, which is appropriate for an album closer. Danny’s vocals are once again on point even after two years out, and of course, the current climate prevents the band from touring all of last year and some of this year. His voice hasn’t waned during that period, nor have the band gotten rusty or lost their edge. Expect this one to feature in their live shows coming up shortly.
Song recommendations: ‘No Good in Goodbye’, ‘Never Seen Anything “Quite Like You”‘, ‘Run Through Walls’
I have heard of this four-piece band from Wigan (Yes, the same place as the Verve.)since 2016. So, I know an awful lot about them through followers on Twitter. They used to post videos of the bandand do polls on the next up-and-coming talent. Indeed, I wasn’t unfamiliar with the Lathums when listening, but I was excited to hear what their album would be like. It was like I did with the Snuts I mentioned before; I also knew of them before their debut record was released. Frontman Alex Moore has also worked with someone else I knew through Twitter followers, and I have personally engaged with the highly talented Rianne Downey (Look out for her. She’s only just getting started in the mainstream.).
Unfortunately, the Lathums signed just before the pandemic hit, so instead of spending most of 2020 touring,they had to find other ways to get their music across. The band hadn’t been out on the road doing arenas and festivals before this year save for their 2019 appearance at Kendal Calling at the request of the Charlatans frontman, Tim Burgess. The band played in small venues like public houses before this year. The biggest being their local called the Crown.
One pro from the pandemic, and with everything locked down, was that the band could focus entirely on the writing and the sound without any distractions. The title has a hint of irony about it because the record is quite melancholic. Of course, that is alright because the likes of the Smiths and Oasis pulled it off well. They made the melancholy blend into relatively upbeat instrumentals. Alex has said that sadness encourages him to write because it is hard for him to write when he isn’t feeling sad. He believes that writing while feeling down in the early days gave him the ability to connect emotionally once turned into a song. It wouldn’t surprise me ifAlex were a fan of the Smiths.
Coral’s frontman, James Skelly,is on production, and of course, James brings his band into the sound, but I can also hear the Smiths, the Libertines, and Space, who are from Skelly’s native Liverpool. Alex looks like Ragnar “Raggi” Þórhallsson from of Monsters and Men, but they also sound vocally alike in some ways. However, Alex has his unique style and is more soulful than Raggi. You could also assume Alex sounds a bit like Marcus Mumford because Raggi does, too.
The album opens with ‘Circles of Faith’, and despite its upbeat nature, my ear was immediately drawn to how much it soundedlike the Smiths. Some might argue it is more like the Stone Roses, but I do not share that opinion. I also felt the same on ‘Fight on’ and several more on the record. The latter is full of heart-wrenching lyrics like, “There are tears in my eyes as I am forced to fight against an occupation. One greater than I”. This is a pop at the establishment, and many of us in the arts feel this way. I also found the band got political on ‘the Great Escape’ as well.
Things start to get calmer on ‘I’ll Get By’ as the acoustic guitar appears and the Lathums go more folk. As usual with that genre, the song reflects on mistakes made during a relationship and how you need your significant other to save you from feeling pain. ‘I Won’t Lie’ reminded me of the Libertines. Can I elaborate? I am not sure I can because the Libertines have always played at that tempo most of the time. It sounds like the kind of song associated with the Libertines. Then, ‘I See Your Ghost’…well, from a band from Wigan, it has its roots in Liverpool. It’s uncanny how much it sounds like them. As I mentioned earlier, there is an element of Space somewhere in the record, and this is it.
Again, you have heard that adage, “Where is all the guitar music?” as mentioned in the Snuts review, it is here.It’s all here: the Lathums, the Snuts, Citylightz, Skylights, HoneyMotel, the Crooks, Rivieras. Even Rianne Downey is goingto take the British folk scene by storm. Just open your ears, and you will find that guitar music isn’t dead.
Song recommendations: ‘the Great Escape’, ‘I Won’t Lie’, ‘I See Your Ghost’
Several years ago, I first heard Jack Savoretti (or Giovanni Galletto-Savoretti) in ASDA. Still, I only knew who it was when I went to the Victorious Festival in 2016, where Jack performed seven songs before Ash took the stage. It was sad to see Jack performing every drop of energy on stage as most of the crowd talked among themselves or headed to and fro the bars and food stalls dotted around the field. It reminded me of when I saw Ed Sheeran on his “Red” tour in autumn of 2011 at the His Master’s Voice Forum in Hatfield,where one of the support acts, Passenger, was performing on stage while the crowd mainly ignored him. It prompted Passenger to say, “Don’t mind me. I’ll just create an ambience while you enjoy your conversation like you were having someone round for a cup of tea”. Fast forward nearly two years after that, that crowd wouldn’t give him such disrespect when ‘Let Her Go’ was in the charts. Anyway, back to Jack. Yes, my friend and I werewaiting for Ash to come on, but we were one of a rare few who gave Jack the time of day. We listened to the majority of the artists and bands that day without ignoring them. It’s funny how the majority of people who gave Jack no respect that day will now listen to his songs.
I mean, he now has a number-one album, so something went right.
I liked this record for its Nile Rodgers-esque sound, but Jack has drawn inspiration from his time in Lugano and Genoa. Just like what I did for the Doves’ latest record, I am going to do a brief track-by-track summary:
I Remember us: It sounds like Europop from France in the 1980s.
Secret Life: Goes more into that disco-funk sound for which Nile Rodgers is known.
Who’s Hurting Who: Now, although it is a track that features the man Nile Rodgers himself with a terrific solo, I wasn’t overly impressed by it.
When You’re Lonely: This song sees Jack draw inspiration from his time in Italy with its tender piano and his velvety vocals.
More than Ever: This wonderful song is a sentimental auto-biographical ballad from his childhood in Italy.
Too Much History: Again, this track returns to that Nile Rodgers-esque sound with its uptempo disco-funk and Jack’s vibrant vocals. It is my favourite off the album and made me want to listen until the end.
Dancing in the Living Room: Another disco-funk track and once again uptempo, and yes, you will want to do what the title suggests.
Each and Every Moment: Right out of the 80s with its retro bass and uplifting tempo.
the Way You Say Goodbye: This has to be used on a cinematic soundtrack because it is apt to be played in that setting. The violins are heavenly.
Calling Me Back to You: Optimistic lyricism shrouded in energetic riffs.
War of Words: An emotional ballad that draws inspiration from the 80s to close the album.
As well as a brief track-by-track summary, I will end the review with my thoughts on the record; ‘Europiana’ is precisely what is necessary as we are still in these uncertain times; the upbeat nature of it fills your mind, body, and soul with the positivity that we all need at the moment. I found it odd because most of the album is highly inspired by Nile Rodgers and his disco funk, but he only produced one track. Cam Blackwood is the producer behind this beautiful record, and he has done a fantastic job of fusing both disco-funk and European music.
I enjoyed Jack’s latest album, even on the downtempo and more reflective moments. Honestly, this is his finest work, and I have no idea how he can better it.
Song recommendations: ‘Too Much History’, ‘Dancing in the Living Room’, ‘More than Ever’
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 bridgereminds 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 alongsideex-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 theveins 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’
I was astonished to find out it is four years since his debut “Human” was released. Youwould have expected another record by then, but no. Since then, there has been a lot of touring (Beforethe obvious) and collaborations. Let’s do a pretty short and sweet summary of the album:
Breath in Me: A song about heartbreak and how he would be happy, dead or alive if his former lover were free and happy.
Fall in Love Again: We have all been here for sure—a track about being afraid to fall in love again after being bitten once.
Anywhere Away from Here: There are two versions on this record. Ultimately, he does his one, but we will focus on the one with P!NK. A tear-evoking love song and feeling insecure about being in a relationship: their strong vocals work well.
All You Ever Wanted: I first heard this on Later…with Jools Holland a few months ago and didn’t think much of it. I was impressed, as always, with his vocal performance, which has stayed the same since I have listened to the record. However, I can now see its worth on “Life by Misadventure” as it is a departure from the rest of the album as it is more uplifting and rock-sounding.
Even though the album starts brightly with a new sense of direction, it starts to peter out after the halfway point, and he tries too hard to keep that momentum. He may have felt the heat of trying to emulate his debut.
Song recommendations: ‘Fall in Love Again, ‘Anywhere Away from Here’, ‘Breath in Me’
It’s quite funny, really, when you consider that Kylie Minogue was number one last week, and this week is the turn of some more of Australia’s finest musicians. These are the best bands and musicians out of Australia, and it’s none other than AC/DC. Yes, there may be English and Scots among the band, but they were founded in Australia (A friend of mine lives not far from one of the former member’s burial place in Perth.) Who isn’t a fan of AC/DC? I might have discovered them after the infamous shirt worn by Butt-Head. Still, after my curiosity, I found I enjoyed listening to their…let’s use Cricket terminology for this (As it’s one of the huge sports in Australia) all-out attack sound, like a Baggy green slogging away out in the middle at every possible ball and sending it either to the boundary for four or striking it into orbit for a maximum. This is the band’s 17th studio album and sees the return of leading vocalist Brian Johnson since his hearing operation and replacing the current touring vocalist, Axl Rose (Yes, that one. Mind you, he was on good behaviour in AC/DC. Probably because Angus Young promised he would kick his fucking head in if he pissed about by turning up late onstage et cetera.) Brian looked like he wasn’t going to return after the news that his hearing was so bad that if he carried on performing, he would go entirely deaf. However, he says his hearing is better than ever and announced his return earlier in the year.
Here is my track-by-track review:
Realize:
From the off, the album has that typical AC/DC attitude to tee the listener up for what they are to expect for the entire listen.
Rejection:
This could be the second single off the record with its catchy guitar riff, and I can certainly see this being included in the setlist when the band can take it out onto the road. It is a tour-ready anthem and one that will get the crowd singing their hearts out.
Shot in the Dark:
The band released this as the leading single, and you can tell why when hearing it. It fits perfectly into that AC/DC wall of sound.
Through the Mists of Time:
Yes, it may be more relaxed initially, but it progressively builds. From a steady rhythm, it grows into the usual rock melody they adopt, complete with a chorus that gets into your head.
Kick You When You’re Down:
Hmmm…this track surprised me with its roots in blues. It’s not a usual AC/DC track (Unless I’m missing something?) with its signature blues riffs that will have the listener moving their head rhythmically. Will it be used on tour? Probably. Even though it is blues, the song is quite uplifting, and it appears, just by listening, that the band had a lot of fun recording the song.
Witch’s Spell:
AC/DC at their best with Brian’s powerful vocals and Angus’s signature guitar riffs. Not to mention the strong rhythm section to back them up and give them that all-round sound.
Demon Fire:
It is a very energetic track with Brian showcasing his vocal talent by going into the lower range, experimenting with different tones, Angus backing him up with a blues riff, and once again the rhythm section adding the panache.
Wild Reputation:
Again, this track doesn’t start as an AC/DC one but does gradually. Initially, it is very soft, with the rhythm more relaxed to match Brian’s vocals. I don’t know if the band recorded this as they reached the end of the session, but it is more mellow than the album. Respite for the listener, perhaps?
No Man’s Land:
Intriguing. In quick succession, the record’s tempo is mellower and very much inspired by country music. It could make it onto a country compilation in years to come.
System Down:
Ah, they have found their muse again and gone full-on rock with this traditional AC/DC track with Brian’s howling vocals and Angus going schizophrenic on the guitar with his riffs and solos. Not to mention the catchy chorus. There’s nothing to say about the rhythm section I haven’t already said so far because everyone knows what makes an AC/DC song.
Money Shot:
A stunning bit of play by Angus on the axe is the highlight of this track and the whole album. This is Angus Young showing his wizardry on the guitar. For the most part, the song is ready, but Angus lights the fuse when he does the solo.
Code Red:
It is a superb way to close the record, and for that reason alone, it will be included as a set closer as they disappear off-stage before returning for the encore. Upbeat and hopeful.
Song recommendations: “Realize”, “Money Shot”, “System Down”.
Honest Opinions 