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Post by girllikeabomb on May 28, 2022 3:35:57 GMT -5
Any of you Italian speakers up for translating this? (Seems to be some specific song talk.)
Rolling Stone Italia HOME DIGITAL COVER 27 MAGGIO 2022
A 20 anni potevo salire sul palco dopo aver fatto lo schifo la sera prima, ora mi devo preparare per non deludere chi ha pagato». Ladies and... lads, ecco Liam Gallagher sulla soglia dei 50 anni, uno che non combina più grandi casini (se non su Twitter) e si appresta a riaffrontare Knebworth. È la storia che ritorna in versione più matura, come nel nuovo album ‘C’mon You Know’, in cui riecheggia mezzo secolo di rock, dai Beatles a Madchester di FRANCESCO PACIFICO
Il terzo disco solista di Liam Gallagher C’mon You Know arriva in un mondo diverso da quello in cui, come disse mi pare su Twitter, aveva anche un tizio addetto a fargli il tè. D’altronde a lui sembra comunque un miracolo avere ancora la voce e avere ancora un pubblico. Lo racconta molto bene in As It Was, il documentario che dimostra (I believe) che tra Noel e Liam l’essere umano era Liam anche se sembrava lui quello che faceva saltare i concerti perché si sfondava troppo.
Nel documentario racconta il crollo della sua carriera subito dopo gli Oasis, il rimpicciolimento delle venue e la fine della rilevanza. Naturalmente è stato girato solo perché poi con i dischi solisti è tornato a vendere – un ritorno che lo porterà a suonare in posti enormi come Knebworth e Etihad Stadium – ma è bello pensare che Liam sia il tipo di artista/non artista in grado di fare un documentario sul fallimento. Liam più che un artista è uno dei lads che hanno fatto la storia della musica inglese: la genealogia per me va da Roger Daltrey degli Who a Ian Brown degli Stone Roses a lui.
Siccome so che di regola chi fa musica dà interviste noiose, ho pensato che la telefonata con Liam potesse essere l’occasione per dirgli cosa pensavo di lui.
Non ho davvero delle domande da farti. Voglio dirti delle cose e sentire come reagisci. Ho guardato il tuo documentario e mi è piaciuto moltissimo. È una storia fantastica e tu sei come al solito molto sincero e vero e onesto e stavo pensando: la narrazione su di te è sempre che devi chiedere scusa. E non lo capisco. Tu sei una delle voci più grosse della storia del rock and roll e sei una bella persona. Perché ti mettono sempre nella posizione di quello che deve chiedere scusa? Sei stato una grande rock and roll star, hai una voce fantastica.
Non lo so. Diciamo che per la rottura degli Oasis hanno dato la colpa a me, capito? E mi ci è voluto molto tempo per riprendermi. Mi sono beccato un sacco di odio, mi dicevano che avevo ucciso la band bla bla bla, che per me non era vero, no? E poi l’altra cosa è che i miei matrimoni sono stati dei fallimenti, e ho fatto dei casini nella mia vita personale, e su quello ho chiesto scusa, non è stato assolutamente un problema chiedere scusa, perché è vero, e ho fatto soffrire molte persone.
Ah quindi siccome tu sei sempre così, sincero, se qualcuno ti chiede di chiedere scusa tu dici: ok, sì, scusate…
Sì, esatto. E perché no? Se nemmeno puoi chiedere scusa, che altro puoi fare nella vita? Senti, certo non mi metto a chiedere scusa per cose che non ho fatto. Chiedo scusa per le cose che ho fatto.
Ora vorrei dirti cosa penso del disco. Mi sono piaciute le influenze che hai messo insieme. Vorrei dirti cosa ci ho sentito e sentire che ne pensi. Andrei in ordine. More Power. Ci sento questa roba sinfonica, orchestrale, un po’ alla Spiritualized. Non so se li odi. A me è piaciuto molto il ritmo, e come introduce il disco. Non conosco molto gli Spiritualized, so che c’è chi l’ha detto, e lo prendo come un complimento, ma non li ho ascoltati molto. Secondo me ci stanno un po’ gli Stones, e un po’ i La’s. I Polyphonic Spree…
I La’s, sì! Invece in Diamond in the Dark ci sento la scena di Madchester anni ’80: gli Happy Mondays… La scena che c’era appena prima che arrivaste voi, praticamente.
Sì, ci sta. Per me però è più che altro lo Ian Brown (Stone Roses, sempre scena di Madchester, ndr) dei dischi solisti. Ma sì, ci sta, la canzone ha un po’ di swag. Ci posso stare. Però non è che ci siamo messi a farla dicendo: facciamo una canzone in quel genere. Ha quei beat hip hop… Sono cose che succedono per caso.
No, figurati. Mi emoziona sentire te che parli di Ian Brown. Sono cresciuto con voi due.
He’s a very cool man.
E siete tutti e due Godlike Geniuses (il premio alla carriera che dà NME, ndr).
Sì, sì.
Poi nel pezzo dopo, Don’t Go Halfway ci sento un po’ i Charlatans.
Ok, può darsi, sai… Sì.
Insomma è un disco molto mancuniano, quel passaggio dagli anni ’80 ai ’90, l’epoca che poi ha portato a voi. Quel sound molto rilassato di Manchester di quel periodo. Mi piace.
Vai avanti, voglio sentire.
In Too Good For Giving Up c’è quella linea di discendenza da John Lennon agli Oasis. Infatti ci sento anche i Mercury Rev. È una vibe che mi piace.
Nice. Nice.
E poi si passa agli Stone Roses con It Was Not Meant to Be, no?
Sì, però anche i Beatles.
Certo. E poi in Everything’s Electric ci sento qualcosa di Definitely Maybe. Ma anche delle cose Brit dei primi 2000. E poi in quella dopo, World’s in Need ci vedo i Rolling Stones passando dai Primal Scream più rétro.
Sì, ti seguo, ma per me c’è anche molto Bo Diddley e anche gli Who.
Bello.
Quest’album suona molto bene.
Sì, suona molto bene. E mi piace l’atmosfera e la tua voce. Senti, ho letto che fai dei concerti grossi per questo disco. Knebworth, e l’Etihad Stadium dove gioca il City. Cosa ti aspetti? Suonare in dei posti così grossi a 50 anni, come te la vivi? Stiamo facendo le prove. Sta venendo bene, suoniamo bene. Nessun problema con le dimensioni: più è grande il concerto meglio è, per me. Non vedo l’ora di andare sul palco e suonare per tutti. Nessuna ansia. Ci andrei oggi. Non sto nella pelle.
Qual è la differenza tra suonare a 25 anni, svegliarsi di pomeriggio e andare al venue, e adesso che ne hai 50? Come ti prepari fisicamente?
Quando invecchi devi prenderti cura di te. Quando hai 20 anni vai dritto sul palco dopo aver fatto lo schifo la sera prima. Riesci a gestirlo meglio. Adesso invece mi devo preparare, non voglio deludere le persone, pagano bei soldi per venire a sentirti. Anche prima li pagavano, ma quando sei più giovane ti puoi permettere di combinare più casini, capito? Ma da grande devi prepararti seriamente. Non vedo l’ora. Ah, spero che il tempo sia bello.
Verso la fine del documentario c’è questa scena molto tenera in cui stai correndo nel bosco e incroci non so che festa o festival dove ci sono tanti ragazzini e ti immagini loro che ti riconoscono e si chiedono che cazzo ci fai nel bosco a quell’ora a correre e pensano che forse sono troppo fatti e ti stanno allucinando. Com’è il rapporto con il pubblico più giovane?
È un privilegio essere ascoltati da un pubblico giovane. Questa gente che si inizia ad ascoltare le mie cose, le cose con gli Oasis. Anche se il mio vecchio pubblico è fantastico, è presente fin dagli inizi, i ragazzi si divertono e portano un’energia enorme. Quando fai un concerto, sotto al palco ci vengono i ragazzi. Sì, anche qualcuno di chi mi segue dall’inizio, ma soprattutto i ragazzi. Ti serve la giovinezza, quell’energia.
Sono come il dodicesimo uomo.
Esatto.
Perché i ventenni si identificano molto negli anni ’90?
Be’ io sono nato negli anni ’70 e avrei voluto vivere negli anni ’60, e aver visto i Beatles. I ragazzi nati negli anni 2000 vorrebbero aver vissuto l’epoca in cui non c’erano. Vogliono sempre tutti tornare indietro. E tra vent’anni la gente vorrà tornare a oggi.
Be’ comunque non capisco perché funziona così.
Senti, negli anni ’90 c’era un sacco di musica bella. E non c’erano i cellulari e i social media. Dopo c’è stato un punto di svolta nella vita umana. Ora è molto diverso.
A proposito di social media. Al telefono, come nel documentario, mi sembri una persona sensibile che ascolta la persona con cui sta parlando. Com’è invece quando sei su Twitter e fai i numeri? È come scrivere poesia?
Mi piace parlare con la gente. Se la gente fa le domande mi piace rispondere. Mi piace parlare di tutto con la gente. Qualcuno fa un po’ lo spaccone e allora devo abbatterlo. Ma la vita è così. Mi piace chiacchierare. E la gente poi esagera, e io pure esagero, ma la vita è così. Non è che ci stiamo ammazzando, stiamo solo sparando cazzate. È una cosa innocua.
È come stare su un palco? Ma sul palco non parlo tanto. Sui social ho il tempo per parlare con i fan e con le persone. Sul palco canto.
Copyright © 2022 by ROLLING STONE LLC. All rights reserved.
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Post by frjdoasis on May 28, 2022 19:42:59 GMT -5
"When I was 20, I could have gone on stage after getting trashed the night before, now I have to prepare myself in order not to let down those who paid." Ladies and ... lads, here is Liam Gallagher on the threshold of 50 years, one who does not cause any big problems anymore (if not on Twitter) and is preparing to face Knebworth again. It is the story that returns in a more mature version, as in the new album 'C'mon You Know', in which he echoes half a century of rock, from the Beatles to Madchester.
by FRANCESCO PACIFICO
Liam Gallagher's third solo album C'mon You Know arrives in a different world than the one in which, as he said on Twitter, he also had a guy responsible for making him tea. On the other hand, it still seems a miracle to him to still have his voice and still have an audience. He tells it very well in As It Was, the documentary that proves (I believe) that between Noel and Liam the human being was Liam, even though he seemed to be the one who blew up concerts because he used to get wasted too much.
In the documentary he tells about the collapse of his career immediately after Oasis, the shrinking of the venues and the end of relevance. Of course it was filmed just because then he went started selling again with his solo records - a comeback that will lead him to play in huge venues like Knebworth and Etihad Stadium - but it's nice to think that Liam is the kind of artist / non-artist capable of doing a documentary about failure. Rather than an artist, Liam is one of the lads who have made the history of English music: the genealogy for me goes from Roger Daltrey from The Who to Ian Brown from The Stone Roses to him.
Since I know that people who make music usually give boring interviews, I thought that the phone call with Liam could be an opportunity to tell him what I thought of him.
---
I don't really have any questions for you. I want to tell you things and hear how you react. I watched your documentary and I loved it. It's a great story and you are as usual very sincere and true and honest and I was thinking: the narrative about you is always that you have to apologise. And I don't understand it. You are one of the biggest voices in rock and roll history and you are a beautiful person. Why do they always put you in the position of the one who has to apologise? You've been a great rock and roll star, you have a great voice.
I do not know. Let's say they blamed it on me for the breakup of Oasis, do you know what I mean? And it took me a long time to recover. I got a lot of hate, they told me I killed the band blah blah blah, which wasn't true for me, right? And then the other thing is that my marriages have been failures, and I've screwed up my personal life, and I apologised for that, it was absolutely no problem to apologise, because it's true, and I hurt many people.
Ah so, since you are always like this, sincere, if someone asks you to apologise, you'll say 'Ok, yes, sorry' ...
Yes, exactly. Why not? If you can't even apologise, what else can you do in life? Look, I'm sure I'm not going to apologise for things I haven't done. I apologise for the things I've done.
Now I'd like to tell you what I think about the record. I liked the influences you put together. I would like to tell you what I heard about it and hear what you think. I would go in order. More Power. I hear this symphonic, orchestral, a bit Spiritualized stuff. I don't know if you hate them. I really liked the rhythm, and how it introduces the record.
I don't know much about Spiritualized, I know there are those who said it, and I take it as a compliment, but I haven't listened to them that much. In my opinion, there are a little bit of Stones, and a little bit of the La's. The Polyphonic Spree ...
The La's, yes! Instead, in Diamond in the Dark I hear the Madchester scene from the 80s, the Happy Mondays ... The scene that was just before you arrived, basically.
Yes, you can say that. For me, however, it is more Ian Brown solo records than anything else (The Stone Roses, again Madchester scene, editor's note). But yes, you can say that, the song has a bit of swag. I can agree. But it's not like we started doing it by saying 'Let's do a song in that genre. It has those hip hop beats….' These are things that just happen by chance.
No, my pleasure. I'm thrilled to hear you talking about Ian Brown. I grew up with you two.
He's a very cool man.
And you are both Godlike Geniuses (the lifetime achievement award that NME gives, editor's note).
Yes, yes.
Then in the next track, Don’t Go Halfway, I hear a bit of The Charlatans.
Okay, maybe, you know… Yes.
In short, it is a very Mancunian record, that passage from the 80s to the 90s, the era that then led to you. That very relaxed Manchester sound of that time. I like it.
Go on, I want to hear.
In Too Good For Giving Up there is that lineage from John Lennon to Oasis. In fact, I also hear Mercury Rev. It's a vibe that I like.
Nice. Nice.
And then we move on to The Stone Roses with It Was Not Meant to Be, right?
Yes, but the Beatles too.
Of course. And then in Everything's Electric I hear something from Definitely Maybe. But also some Brit things from the early 2000s. And then in the next one, World’s in Need, I see the Rolling Stones passing through the more retro Primal Scream.
Yes, I follow you, but for me there is also a lot of Bo Diddley and The Who too.
Beautiful.
This album sounds very good.
Yes, it sounds very good. And I like the atmosphere and your voice. Look, I read that you're doing some big shows for this record. Knebworth, and the Etihad Stadium where City play. What do you expect? Playing in such big places at 50, how do you feel about it?
We are rehearsing. It's coming up well, we play well. No problem with the size, the bigger the concert, the better for me. I can't wait to go on stage and play for everyone. No anxiety. I would go there today. I'm buzzing.
What's the difference between playing at 25, waking up in the afternoon and going to the venue, and now that you're 50? How do you prepare yourself physically?
When you get older, you have to take care of yourself. When you're 20, you go straight up onto the stage after you got wasted the night before. You can handle it better. But now I have to prepare, I don't want to disappoint people, they pay good money to come and hear you. They used to pay it in the past too, but when you're younger you can afford to mess up more, okay? But when you grow up you have to prepare yourself seriously. I can't wait. Ah, I hope the weather is nice.
Towards the end of the documentary there is this very tender scene where you are running in the woods and you bump into I don't know what party or festival where there are so many kids and you imagine them recognising you and wondering what the fuck are you doing in the woods, running at that time of the day. And they think that maybe they are too high and are hallucinating you. How is your relationship with the younger audience?
It is a privilege to be heard by a young audience. These people who start listening to my things, things with Oasis. Even though my old audience is fantastic, they have been there since the beginning, the lads have fun and bring massive energy. When you do a concert, the boys come under the stage. Yes, even some of those who have followed me from the beginning, but especially the boys. You need youth, that energy.
They are like the twelfth man.
Exactly.
Why do 20-year-olds identify a lot with the 90s?
Well I was born in the 70s and I would have liked to live in the 60s, and have seen the Beatles. Boys born in the 2000s wish they had lived at the time when they weren't there. They all always want to go back. And in twenty years' time, people will want to go back to today.
Well, however, I don't understand why it works like this.
Look, in the 90s there was a lot of beautiful music. And there were no mobile phones and social media. After that there was a turning point in human life. It is very different now.
Speaking of social media. On the phone, as in the documentary, you sound like a sensitive person listening to the person you are talking to. What is it like when you are on Twitter and do the numbers? Is it like writing poetry?
I love talking to people. If people ask questions, I like to answer them. I like to talk to people about everything. Someone is a bit braggart and then I have to knock him down. But that's life. I like to chat. And then people exaggerate, and I exaggerate too, but that's life. It's not like we're killing ourselves, we're just bullshitting. It is harmless.
Is it like being on stage?
But on stage I don't talk much. On social media, I have time to talk to fans and people. On stage I sing.
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Post by jeffrey on May 28, 2022 19:59:01 GMT -5
"When I was 20, I could have gone on stage after getting trashed the night before, now I have to prepare myself in order not to let down those who paid." Ladies and ... lads, here is Liam Gallagher on the threshold of 50 years, one who does not cause any big problems anymore (if not on Twitter) and is preparing to face Knebworth again. It is the story that returns in a more mature version, as in the new album 'C'mon You Know', in which he echoes half a century of rock, from the Beatles to Madchester. by FRANCESCO PACIFICO Liam Gallagher's third solo album C'mon You Know arrives in a different world than the one in which, as he said on Twitter, he also had a guy responsible for making him tea. On the other hand, it still seems a miracle to him to still have his voice and still have an audience. He tells it very well in As It Was, the documentary that proves (I believe) that between Noel and Liam the human being was Liam, even though he seemed to be the one who blew up concerts because he used to get wasted too much. In the documentary he tells about the collapse of his career immediately after Oasis, the shrinking of the venues and the end of relevance. Of course it was filmed just because then he went started selling again with his solo records - a comeback that will lead him to play in huge venues like Knebworth and Etihad Stadium - but it's nice to think that Liam is the kind of artist / non-artist capable of doing a documentary about failure. Rather than an artist, Liam is one of the lads who have made the history of English music: the genealogy for me goes from Roger Daltrey from The Who to Ian Brown from The Stone Roses to him. Since I know that people who make music usually give boring interviews, I thought that the phone call with Liam could be an opportunity to tell him what I thought of him. --- I don't really have any questions for you. I want to tell you things and hear how you react. I watched your documentary and I loved it. It's a great story and you are as usual very sincere and true and honest and I was thinking: the narrative about you is always that you have to apologise. And I don't understand it. You are one of the biggest voices in rock and roll history and you are a beautiful person. Why do they always put you in the position of the one who has to apologise? You've been a great rock and roll star, you have a great voice.I do not know. Let's say they blamed it on me for the breakup of Oasis, do you know what I mean? And it took me a long time to recover. I got a lot of hate, they told me I killed the band blah blah blah, which wasn't true for me, right? And then the other thing is that my marriages have been failures, and I've screwed up my personal life, and I apologised for that, it was absolutely no problem to apologise, because it's true, and I hurt many people. Ah so, since you are always like this, sincere, if someone asks you to apologise, you'll say 'Ok, yes, sorry' ...
Yes, exactly. Why not? If you can't even apologise, what else can you do in life? Look, I'm sure I'm not going to apologise for things I haven't done. I apologise for the things I've done. Now I'd like to tell you what I think about the record. I liked the influences you put together. I would like to tell you what I heard about it and hear what you think. I would go in order. More Power. I hear this symphonic, orchestral, a bit Spiritualized stuff. I don't know if you hate them. I really liked the rhythm, and how it introduces the record.
I don't know much about Spiritualized, I know there are those who said it, and I take it as a compliment, but I haven't listened to them that much. In my opinion, there are a little bit of Stones, and a little bit of the La's. The Polyphonic Spree ... The La's, yes! Instead, in Diamond in the Dark I hear the Madchester scene from the 80s, the Happy Mondays ... The scene that was just before you arrived, basically.
Yes, you can say that. For me, however, it is more Ian Brown solo records than anything else (The Stone Roses, again Madchester scene, editor's note). But yes, you can say that, the song has a bit of swag. I can agree. But it's not like we started doing it by saying 'Let's do a song in that genre. It has those hip hop beats….' These are things that just happen by chance. No, my pleasure. I'm thrilled to hear you talking about Ian Brown. I grew up with you two.
He's a very cool man. And you are both Godlike Geniuses (the lifetime achievement award that NME gives, editor's note).
Yes, yes. Then in the next track, Don’t Go Halfway, I hear a bit of The Charlatans.
Okay, maybe, you know… Yes. In short, it is a very Mancunian record, that passage from the 80s to the 90s, the era that then led to you. That very relaxed Manchester sound of that time. I like it.Go on, I want to hear. In Too Good For Giving Up there is that lineage from John Lennon to Oasis. In fact, I also hear Mercury Rev. It's a vibe that I like.Nice. Nice. And then we move on to The Stone Roses with It Was Not Meant to Be, right?
Yes, but the Beatles too. Of course. And then in Everything's Electric I hear something from Definitely Maybe. But also some Brit things from the early 2000s. And then in the next one, World’s in Need, I see the Rolling Stones passing through the more retro Primal Scream.Yes, I follow you, but for me there is also a lot of Bo Diddley and The Who too. Beautiful.This album sounds very good. Yes, it sounds very good. And I like the atmosphere and your voice. Look, I read that you're doing some big shows for this record. Knebworth, and the Etihad Stadium where City play. What do you expect? Playing in such big places at 50, how do you feel about it?We are rehearsing. It's coming up well, we play well. No problem with the size, the bigger the concert, the better for me. I can't wait to go on stage and play for everyone. No anxiety. I would go there today. I'm buzzing. What's the difference between playing at 25, waking up in the afternoon and going to the venue, and now that you're 50? How do you prepare yourself physically?When you get older, you have to take care of yourself. When you're 20, you go straight up onto the stage after you got wasted the night before. You can handle it better. But now I have to prepare, I don't want to disappoint people, they pay good money to come and hear you. They used to pay it in the past too, but when you're younger you can afford to mess up more, okay? But when you grow up you have to prepare yourself seriously. I can't wait. Ah, I hope the weather is nice. Towards the end of the documentary there is this very tender scene where you are running in the woods and you bump into I don't know what party or festival where there are so many kids and you imagine them recognising you and wondering what the fuck are you doing in the woods, running at that time of the day. And they think that maybe they are too high and are hallucinating you. How is your relationship with the younger audience?It is a privilege to be heard by a young audience. These people who start listening to my things, things with Oasis. Even though my old audience is fantastic, they have been there since the beginning, the lads have fun and bring massive energy. When you do a concert, the boys come under the stage. Yes, even some of those who have followed me from the beginning, but especially the boys. You need youth, that energy. They are like the twelfth man.Exactly. Why do 20-year-olds identify a lot with the 90s?Well I was born in the 70s and I would have liked to live in the 60s, and have seen the Beatles. Boys born in the 2000s wish they had lived the time when they weren't there. They all always want to go back. And in twenty years, people will want to go back to today. Well, however, I don't understand why it works like this. Look, in the 90s there was a lot of beautiful music. And there were no cell phones and social media. After that there was a turning point in human life. It is very different now. Speaking of social media. On the phone, as in the documentary, you seem like a sensitive person listening to the person they are talking to. What is it like when you are on Twitter and do the numbers? Is it like writing poetry? I love talking to people. If people ask questions, I like to answer them. I like to talk to people about everything. Someone is a bit braggart and then I have to knock him down. But life is like that. I like to chat. And then people exaggerate, and I too exaggerate, but life is like that. It's not like we're killing ourselves, we're just bullshitting. It is harmless. Is it like being on stage? But on stage I don't talk much. On social media, I have time to talk to fans and people. On stage I sing. Thank you for this!
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Post by frjdoasis on May 28, 2022 20:01:13 GMT -5
"When I was 20, I could have gone on stage after getting trashed the night before, now I have to prepare myself in order not to let down those who paid." Ladies and ... lads, here is Liam Gallagher on the threshold of 50 years, one who does not cause any big problems anymore (if not on Twitter) and is preparing to face Knebworth again. It is the story that returns in a more mature version, as in the new album 'C'mon You Know', in which he echoes half a century of rock, from the Beatles to Madchester. by FRANCESCO PACIFICO Liam Gallagher's third solo album C'mon You Know arrives in a different world than the one in which, as he said on Twitter, he also had a guy responsible for making him tea. On the other hand, it still seems a miracle to him to still have his voice and still have an audience. He tells it very well in As It Was, the documentary that proves (I believe) that between Noel and Liam the human being was Liam, even though he seemed to be the one who blew up concerts because he used to get wasted too much. In the documentary he tells about the collapse of his career immediately after Oasis, the shrinking of the venues and the end of relevance. Of course it was filmed just because then he went started selling again with his solo records - a comeback that will lead him to play in huge venues like Knebworth and Etihad Stadium - but it's nice to think that Liam is the kind of artist / non-artist capable of doing a documentary about failure. Rather than an artist, Liam is one of the lads who have made the history of English music: the genealogy for me goes from Roger Daltrey from The Who to Ian Brown from The Stone Roses to him. Since I know that people who make music usually give boring interviews, I thought that the phone call with Liam could be an opportunity to tell him what I thought of him. --- I don't really have any questions for you. I want to tell you things and hear how you react. I watched your documentary and I loved it. It's a great story and you are as usual very sincere and true and honest and I was thinking: the narrative about you is always that you have to apologise. And I don't understand it. You are one of the biggest voices in rock and roll history and you are a beautiful person. Why do they always put you in the position of the one who has to apologise? You've been a great rock and roll star, you have a great voice.I do not know. Let's say they blamed it on me for the breakup of Oasis, do you know what I mean? And it took me a long time to recover. I got a lot of hate, they told me I killed the band blah blah blah, which wasn't true for me, right? And then the other thing is that my marriages have been failures, and I've screwed up my personal life, and I apologised for that, it was absolutely no problem to apologise, because it's true, and I hurt many people. Ah so, since you are always like this, sincere, if someone asks you to apologise, you'll say 'Ok, yes, sorry' ...
Yes, exactly. Why not? If you can't even apologise, what else can you do in life? Look, I'm sure I'm not going to apologise for things I haven't done. I apologise for the things I've done. Now I'd like to tell you what I think about the record. I liked the influences you put together. I would like to tell you what I heard about it and hear what you think. I would go in order. More Power. I hear this symphonic, orchestral, a bit Spiritualized stuff. I don't know if you hate them. I really liked the rhythm, and how it introduces the record.
I don't know much about Spiritualized, I know there are those who said it, and I take it as a compliment, but I haven't listened to them that much. In my opinion, there are a little bit of Stones, and a little bit of the La's. The Polyphonic Spree ... The La's, yes! Instead, in Diamond in the Dark I hear the Madchester scene from the 80s, the Happy Mondays ... The scene that was just before you arrived, basically.
Yes, you can say that. For me, however, it is more Ian Brown solo records than anything else (The Stone Roses, again Madchester scene, editor's note). But yes, you can say that, the song has a bit of swag. I can agree. But it's not like we started doing it by saying 'Let's do a song in that genre. It has those hip hop beats….' These are things that just happen by chance. No, my pleasure. I'm thrilled to hear you talking about Ian Brown. I grew up with you two.
He's a very cool man. And you are both Godlike Geniuses (the lifetime achievement award that NME gives, editor's note).
Yes, yes. Then in the next track, Don’t Go Halfway, I hear a bit of The Charlatans.
Okay, maybe, you know… Yes. In short, it is a very Mancunian record, that passage from the 80s to the 90s, the era that then led to you. That very relaxed Manchester sound of that time. I like it.Go on, I want to hear. In Too Good For Giving Up there is that lineage from John Lennon to Oasis. In fact, I also hear Mercury Rev. It's a vibe that I like.Nice. Nice. And then we move on to The Stone Roses with It Was Not Meant to Be, right?
Yes, but the Beatles too. Of course. And then in Everything's Electric I hear something from Definitely Maybe. But also some Brit things from the early 2000s. And then in the next one, World’s in Need, I see the Rolling Stones passing through the more retro Primal Scream.Yes, I follow you, but for me there is also a lot of Bo Diddley and The Who too. Beautiful.This album sounds very good. Yes, it sounds very good. And I like the atmosphere and your voice. Look, I read that you're doing some big shows for this record. Knebworth, and the Etihad Stadium where City play. What do you expect? Playing in such big places at 50, how do you feel about it?We are rehearsing. It's coming up well, we play well. No problem with the size, the bigger the concert, the better for me. I can't wait to go on stage and play for everyone. No anxiety. I would go there today. I'm buzzing. What's the difference between playing at 25, waking up in the afternoon and going to the venue, and now that you're 50? How do you prepare yourself physically?When you get older, you have to take care of yourself. When you're 20, you go straight up onto the stage after you got wasted the night before. You can handle it better. But now I have to prepare, I don't want to disappoint people, they pay good money to come and hear you. They used to pay it in the past too, but when you're younger you can afford to mess up more, okay? But when you grow up you have to prepare yourself seriously. I can't wait. Ah, I hope the weather is nice. Towards the end of the documentary there is this very tender scene where you are running in the woods and you bump into I don't know what party or festival where there are so many kids and you imagine them recognising you and wondering what the fuck are you doing in the woods, running at that time of the day. And they think that maybe they are too high and are hallucinating you. How is your relationship with the younger audience?It is a privilege to be heard by a young audience. These people who start listening to my things, things with Oasis. Even though my old audience is fantastic, they have been there since the beginning, the lads have fun and bring massive energy. When you do a concert, the boys come under the stage. Yes, even some of those who have followed me from the beginning, but especially the boys. You need youth, that energy. They are like the twelfth man.Exactly. Why do 20-year-olds identify a lot with the 90s?Well I was born in the 70s and I would have liked to live in the 60s, and have seen the Beatles. Boys born in the 2000s wish they had lived the time when they weren't there. They all always want to go back. And in twenty years, people will want to go back to today. Well, however, I don't understand why it works like this. Look, in the 90s there was a lot of beautiful music. And there were no cell phones and social media. After that there was a turning point in human life. It is very different now. Speaking of social media. On the phone, as in the documentary, you seem like a sensitive person listening to the person they are talking to. What is it like when you are on Twitter and do the numbers? Is it like writing poetry? I love talking to people. If people ask questions, I like to answer them. I like to talk to people about everything. Someone is a bit braggart and then I have to knock him down. But life is like that. I like to chat. And then people exaggerate, and I too exaggerate, but life is like that. It's not like we're killing ourselves, we're just bullshitting. It is harmless. Is it like being on stage? But on stage I don't talk much. On social media, I have time to talk to fans and people. On stage I sing. Thank you for this! I fixed all the bits where Google translator was going tits up.
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Post by girllikeabomb on May 28, 2022 21:34:39 GMT -5
"When I was 20, I could have gone on stage after getting trashed the night before, now I have to prepare myself in order not to let down those who paid." Ladies and ... lads, here is Liam Gallagher on the threshold of 50 years, one who does not cause any big problems anymore (if not on Twitter) and is preparing to face Knebworth again. It is the story that returns in a more mature version, as in the new album 'C'mon You Know', in which he echoes half a century of rock, from the Beatles to Madchester. by FRANCESCO PACIFICO
Thank you, you beautiful soul.
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Post by tiger40 on May 29, 2022 13:16:28 GMT -5
"When I was 20, I could have gone on stage after getting trashed the night before, now I have to prepare myself in order not to let down those who paid." Ladies and ... lads, here is Liam Gallagher on the threshold of 50 years, one who does not cause any big problems anymore (if not on Twitter) and is preparing to face Knebworth again. It is the story that returns in a more mature version, as in the new album 'C'mon You Know', in which he echoes half a century of rock, from the Beatles to Madchester. by FRANCESCO PACIFICO Liam Gallagher's third solo album C'mon You Know arrives in a different world than the one in which, as he said on Twitter, he also had a guy responsible for making him tea. On the other hand, it still seems a miracle to him to still have his voice and still have an audience. He tells it very well in As It Was, the documentary that proves (I believe) that between Noel and Liam the human being was Liam, even though he seemed to be the one who blew up concerts because he used to get wasted too much. In the documentary he tells about the collapse of his career immediately after Oasis, the shrinking of the venues and the end of relevance. Of course it was filmed just because then he went started selling again with his solo records - a comeback that will lead him to play in huge venues like Knebworth and Etihad Stadium - but it's nice to think that Liam is the kind of artist / non-artist capable of doing a documentary about failure. Rather than an artist, Liam is one of the lads who have made the history of English music: the genealogy for me goes from Roger Daltrey from The Who to Ian Brown from The Stone Roses to him. Since I know that people who make music usually give boring interviews, I thought that the phone call with Liam could be an opportunity to tell him what I thought of him. --- I don't really have any questions for you. I want to tell you things and hear how you react. I watched your documentary and I loved it. It's a great story and you are as usual very sincere and true and honest and I was thinking: the narrative about you is always that you have to apologise. And I don't understand it. You are one of the biggest voices in rock and roll history and you are a beautiful person. Why do they always put you in the position of the one who has to apologise? You've been a great rock and roll star, you have a great voice.I do not know. Let's say they blamed it on me for the breakup of Oasis, do you know what I mean? And it took me a long time to recover. I got a lot of hate, they told me I killed the band blah blah blah, which wasn't true for me, right? And then the other thing is that my marriages have been failures, and I've screwed up my personal life, and I apologised for that, it was absolutely no problem to apologise, because it's true, and I hurt many people. Ah so, since you are always like this, sincere, if someone asks you to apologise, you'll say 'Ok, yes, sorry' ...
Yes, exactly. Why not? If you can't even apologise, what else can you do in life? Look, I'm sure I'm not going to apologise for things I haven't done. I apologise for the things I've done. Now I'd like to tell you what I think about the record. I liked the influences you put together. I would like to tell you what I heard about it and hear what you think. I would go in order. More Power. I hear this symphonic, orchestral, a bit Spiritualized stuff. I don't know if you hate them. I really liked the rhythm, and how it introduces the record.
I don't know much about Spiritualized, I know there are those who said it, and I take it as a compliment, but I haven't listened to them that much. In my opinion, there are a little bit of Stones, and a little bit of the La's. The Polyphonic Spree ... The La's, yes! Instead, in Diamond in the Dark I hear the Madchester scene from the 80s, the Happy Mondays ... The scene that was just before you arrived, basically.
Yes, you can say that. For me, however, it is more Ian Brown solo records than anything else (The Stone Roses, again Madchester scene, editor's note). But yes, you can say that, the song has a bit of swag. I can agree. But it's not like we started doing it by saying 'Let's do a song in that genre. It has those hip hop beats….' These are things that just happen by chance. No, my pleasure. I'm thrilled to hear you talking about Ian Brown. I grew up with you two.
He's a very cool man. And you are both Godlike Geniuses (the lifetime achievement award that NME gives, editor's note).
Yes, yes. Then in the next track, Don’t Go Halfway, I hear a bit of The Charlatans.
Okay, maybe, you know… Yes. In short, it is a very Mancunian record, that passage from the 80s to the 90s, the era that then led to you. That very relaxed Manchester sound of that time. I like it.Go on, I want to hear. In Too Good For Giving Up there is that lineage from John Lennon to Oasis. In fact, I also hear Mercury Rev. It's a vibe that I like.Nice. Nice. And then we move on to The Stone Roses with It Was Not Meant to Be, right?
Yes, but the Beatles too. Of course. And then in Everything's Electric I hear something from Definitely Maybe. But also some Brit things from the early 2000s. And then in the next one, World’s in Need, I see the Rolling Stones passing through the more retro Primal Scream.Yes, I follow you, but for me there is also a lot of Bo Diddley and The Who too. Beautiful.This album sounds very good. Yes, it sounds very good. And I like the atmosphere and your voice. Look, I read that you're doing some big shows for this record. Knebworth, and the Etihad Stadium where City play. What do you expect? Playing in such big places at 50, how do you feel about it?We are rehearsing. It's coming up well, we play well. No problem with the size, the bigger the concert, the better for me. I can't wait to go on stage and play for everyone. No anxiety. I would go there today. I'm buzzing. What's the difference between playing at 25, waking up in the afternoon and going to the venue, and now that you're 50? How do you prepare yourself physically?When you get older, you have to take care of yourself. When you're 20, you go straight up onto the stage after you got wasted the night before. You can handle it better. But now I have to prepare, I don't want to disappoint people, they pay good money to come and hear you. They used to pay it in the past too, but when you're younger you can afford to mess up more, okay? But when you grow up you have to prepare yourself seriously. I can't wait. Ah, I hope the weather is nice. Towards the end of the documentary there is this very tender scene where you are running in the woods and you bump into I don't know what party or festival where there are so many kids and you imagine them recognising you and wondering what the fuck are you doing in the woods, running at that time of the day. And they think that maybe they are too high and are hallucinating you. How is your relationship with the younger audience?It is a privilege to be heard by a young audience. These people who start listening to my things, things with Oasis. Even though my old audience is fantastic, they have been there since the beginning, the lads have fun and bring massive energy. When you do a concert, the boys come under the stage. Yes, even some of those who have followed me from the beginning, but especially the boys. You need youth, that energy. They are like the twelfth man.Exactly. Why do 20-year-olds identify a lot with the 90s?Well I was born in the 70s and I would have liked to live in the 60s, and have seen the Beatles. Boys born in the 2000s wish they had lived at the time when they weren't there. They all always want to go back. And in twenty years' time, people will want to go back to today. Well, however, I don't understand why it works like this.Look, in the 90s there was a lot of beautiful music. And there were no mobile phones and social media. After that there was a turning point in human life. It is very different now. Speaking of social media. On the phone, as in the documentary, you sound like a sensitive person listening to the person you are talking to. What is it like when you are on Twitter and do the numbers? Is it like writing poetry?
I love talking to people. If people ask questions, I like to answer them. I like to talk to people about everything. Someone is a bit braggart and then I have to knock him down. But that's life. I like to chat. And then people exaggerate, and I exaggerate too, but that's life. It's not like we're killing ourselves, we're just bullshitting. It is harmless. Is it like being on stage?But on stage I don't talk much. On social media, I have time to talk to fans and people. On stage I sing. Many thanks for this, it's a good interview.
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Post by frjdoasis on May 29, 2022 18:48:47 GMT -5
"When I was 20, I could have gone on stage after getting trashed the night before, now I have to prepare myself in order not to let down those who paid." Ladies and ... lads, here is Liam Gallagher on the threshold of 50 years, one who does not cause any big problems anymore (if not on Twitter) and is preparing to face Knebworth again. It is the story that returns in a more mature version, as in the new album 'C'mon You Know', in which he echoes half a century of rock, from the Beatles to Madchester. by FRANCESCO PACIFICO Thank you, you beautiful soul.
Non c'è di che, cara
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