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Post by garys on Oct 21, 2017 9:44:26 GMT -5
Kinda reminds of the way Clapton re-interpreted Layla as a lazy acoustic blues shuffle, the Clapton fans that jumped on board in the Tears In Heaven era loved it, the rest of us never warmed up to and ALWAYS preferred the original.
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Post by garys on Oct 20, 2017 9:53:59 GMT -5
Would love to hear Wigwam with his current voice and Sons Of The Stage as an encore
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Post by garys on Oct 20, 2017 9:47:23 GMT -5
That ''common pigeon'' is a brilliant singer with a hit album
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Post by garys on Oct 13, 2017 17:40:14 GMT -5
Well said mate - Rkid is back
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Post by garys on Oct 12, 2017 14:58:50 GMT -5
Stills sucks less than Holy Mountain
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Post by garys on Oct 12, 2017 13:01:50 GMT -5
Baby C'MON!
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Post by garys on Oct 9, 2017 9:41:31 GMT -5
You get your mucky fingers burned (Ricky Martin has matches?!?!?!) Baby c'mon And to think...BDI caught shit for Bring The Light
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Post by garys on Oct 7, 2017 10:15:35 GMT -5
I've All I Need Come Back To Me
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Post by garys on Oct 7, 2017 10:10:41 GMT -5
Bloody love Greedy Soul, but the live version brings the urgency that's needed and that is lacking on the studio version. I'm missing the "YEAH" at the end of the first verse lyric. Also, "I don't give a fuck ALRIGHT" needs to be shouted....come on Liam. Otherwise, love it. YEAH!
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Post by garys on Oct 6, 2017 10:18:59 GMT -5
Absolutely great job by Rkid - Toss up for the following, mega and on repeat - Bold Paper Crown Greedy Soul (Air Studios) You Better Run I Get By Come Back T Me Universal Gleam I've All I Need Wall Of Glass That's 9 ace tracks - that for me makes a classic album Honorable mention and not on skip- Chinatown & For What It's Worth
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Post by garys on Oct 5, 2017 21:57:42 GMT -5
Come Back To Me
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Post by garys on Oct 5, 2017 15:16:10 GMT -5
Frank Sinatra, the greatest vocal interpreter of popular music, has exactly one credit as a song writer. Ella Fitzgerald, Sarah Vaughn, Billie Holiday, none of them were writers. Your argument is invalid. Roger Daltrey has had minimum input on the song writing of the Who. Maybe 2 credits? Does that minimize his contribution to his interpretations of Townshend's songs? They'd never be as iconic as they are.
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Post by garys on Sept 27, 2017 14:47:40 GMT -5
I'm Just Sayin' AllMusic Review by Stephen Thomas Erlewine Always operating in the shadow of his brother Noel, Liam Gallagher had difficulty separating himself from Oasis. Maybe that's his fault, since he retained nearly the entire lineup of Oasis for Beady Eye, the group he formed after splitting with his sibling in 2009, but that band never gained traction -- which had the unfortunate side effect of slowing Liam's momentum. He pulled the plug on Beady Eye in 2014 and spent a couple of years regrouping, re-emerging in 2017 with As You Were. The very title suggests Gallagher is picking up where Oasis left off, a sentiment that also applied to Beady Eye's 2011 debut, Different Gear, Still Speeding, but As You Were is clean and focused in a way Liam has never been on his own. Proud classicist that he is, Gallagher doesn't attempt to adopt a new aesthetic here, but thanks to producer Greg Kurstin -- who won a boatload of Grammys through his work with Adele and has also helmed records for Foo Fighters, Tegan and Sara, Kelly Clarkson, and Elle Goulding -- he does freshen up his sounds. Beady Eye attempted a similar sonic shakeup on their final album, BE, but producer Dave Sitek encouraged a hazy neo-psychedelia, which is the sonic opposite of the clean snap Kurstin brings to As You Were. Clear and modern, buttressed with slight rhythmic loops and digital manipulation, As You Were doesn't sound retro even though it is, in essence, a throwback to a throwback -- a re-articulation of Liam's '90s obsession with the '60s. That production does Gallagher a favor but so does Kurstin's presence as a co-songwriter, helping to rein in Liam's wandering ear and sharpen his melodies. Ranging from the icy onslaught of "Wall of Glass" to the stark swirl of "Chinatown," this is his best record in nearly a decade, and they add up to an album that illustrates exactly who Liam Gallagher is as an artist. Now in his middle age, he's a richer, nuanced singer than he was during Oasis' heyday, yet he's retained his charisma and, unlike his brother, he favors color and fire in his records, elements that not only enhance this fine collection of songs but make this the best post-Oasis album from either Gallagher to date.
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Post by garys on Sept 25, 2017 13:53:41 GMT -5
Definitely Maybe: Rock 'N' Roll Star
What's the Story: Don't Look Back in Anger
The Masterplan: Listen Up
Be Here Now: It's Gettin' Better (Man!!)
Standing on the Shoulder of Giants: Go Let It Out
Heathen Chemistry: The Hindu Times
Don't Believe the Truth: The Importance of Being Idle
Dig Out Your Soul: The Shock of the Lightning
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Post by garys on Sept 16, 2017 15:20:35 GMT -5
Thought it might be interesting to read the AllMusic review pasted below Quick side note - years ago I D/L'd an edited de-clipped version on a long forgotten blog (NOT the soniclovenoize version, this one's better) that's become the only version I listen to. I absolutely love this album
Review by Stephen Thomas Erlewine, AllMusic Arriving with the force of a hurricane, Oasis' third album, Be Here Now, is a bright, bold, colorful tour de force that simply steamrolls over any criticism. The key to Oasis' sound is its inevitability -- they are unwavering in their confidence, which means that even the hardest rockers are slow, steady, and heavy, not fast. And that self-possessed confidence, that belief in their greatness, makes Be Here Now intensely enjoyable, even though it offers no real songwriting breakthroughs. Noel Gallagher remains a remarkably talented synthesist, bringing together disparate strands -- "D'You Know What I Mean" has an N.W.A drum loop, a Zeppelin-esque wall of guitars, electronica gurgles, and lyrical allusions to the Beatles and Dylan -- to create impossibly catchy songs that sound fresh, no matter how many older songs he references. He may be working familiar territory throughout Be Here Now, but it doesn't matter because the craftsmanship is good. "The Girl in the Dirty Shirt" is irresistible pop, and epics like "Magic Pie" and "All Around the World" simply soar, while the rockers "My Big Mouth," "It's Getting Better (Man!!)," and "Be Here Now" attack with a bone-crunching force. Noel is smart enough to balance his classicist tendencies with spacious, open production, filling the album with found sounds, layers of guitars, keyboards, and strings, giving the record its humongous, immediate feel. The sprawling sound and huge melodic hooks would be enough to make Be Here Now a winner, but Liam Gallagher's vocals give the album emotional resonance. Singing better than ever, Liam injects venom into the rockers, but he also delivers the nakedly emotional lyrics of "Don't Go Away" with affecting vulnerability. That combination of violence and sensitivity gives Oasis an emotional core and makes Be Here Now a triumphant album.
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Post by garys on Sept 14, 2017 17:32:28 GMT -5
Terminal5 was already sold out a couple of weeks ago when I tried to get tickets - bummed
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Post by garys on Sept 8, 2017 19:51:19 GMT -5
Solid review for Rkid I'm a bit relieved to be honest ;-p
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Post by garys on Sept 8, 2017 10:29:45 GMT -5
Well - there it is then. And it was more slid in or placed rather than shoved. That's what makes music so great, the subjectiveness of it all. That track swims around in my head all the time, I love Liam's phrasing on it and the guitar riff. Are the lyrics shite? No doubt, but for me it all works.
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Post by garys on Sept 8, 2017 6:25:26 GMT -5
My Beady Eye playlist, Best Of Beady Eye if you will - and I listen to it often: Four Letter word Millionaire The Roller For Anyone Beatles & Stones Kill For a Dream In The Bubble With A Bullet Flick Of The Finger Soul Love Second Bite Of The Apple (Live, The Voice UK) Iz Rite I'm Just Saying Standing On The Edge Of The Noise The Beat Goes On Across The Universe Wigwam> The Morning Son> Sons Of The Stage> White Smoke
(> = crossfade)
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