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Post by spaneli on Oct 6, 2017 9:41:46 GMT -5
Thing is Pitchfork's review sticks out as the only truly bad score from any of the reviews. They're in the minority here. So I think Oasis fans have a right to question those pricks. Just because it's in the minority doesn't make it bad. A review is an opinion. There are different opinions.
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Post by Headmaster on Oct 6, 2017 10:04:10 GMT -5
The problem with Pitchfork is that they are not imparcial, they hate Oasis and that is It, It does not matter If the next Noel album will be a masterpiece or not, they will always give a low score to anything Gallagher related, and that sucks, reviews are supposed to be imparcial and about music, not stabbing the artist at every oportunity. I mean, they gave BE a 5.8/10. They also gave Chasing Yesterday 5.9/10. Both of those are fairly decent scores, and just below what many people would rate them. I think you didn't understand what I mean, it's not about the score or if it's well written or not, the problem is the Pitchfork itself, they aren't imparcial, they hate Oasis and have to stab the Gallaghers at every given oportunity, how can you take them serious for being this way? Pitchfork has a long history with bashing Oasis, be the 3.7/10 for TM, be the case of neither DM nor MG not featuring on their best 90's albums list, and always this thing of 4.9, 5.8, 5.9, at least be a decent person and give a 6.0 already.
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Post by ricardogce on Oct 6, 2017 10:07:48 GMT -5
Thing is Pitchfork's review sticks out as the only truly bad score from any of the reviews. They're in the minority here. So I think Oasis fans have a right to question those pricks. Just because it's in the minority doesn't make it bad. A review is an opinion. There are different opinions. I have a lot of time for Laura Snapes as a writer, but her Pitchfork review suffered from the same malaise a lot of music journos are afflicted by: Final judgment rests on their opinion of the performer, not their music. Criticism of the album is blunted a fair bit when the framing prose is 100% meta.
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Post by icebreath on Oct 6, 2017 10:21:08 GMT -5
Under The Radar magazine Review Rating: 7/10Park the specter of Oasis at the door before settling into Liam Gallagher's first solo album. As You Were finds the singer sounding as self-assured and focused as someone with a string of records under their own banner. The production by Greg Kurstin and Dan Grech-Marguerat places Gallagher in a variety of settings. Charging guitars and drums drive "I Get By," and he seems in his element here. While Gallagher is undoubtedly the focus, there's a Liam-and-his-band air that sounds natural. Not that he's hiding in the swirl of other players (Gallagher will never sound like a wallflower, for sure), but just enjoying the moment. "Come Back to Me" seems to move him similarly. "I've seen despair/But I still care/My heart is together/My head is exploding," Gallagher sings over a wave of acoustic and electric guitars. The album's opener, "Wall of Glass" (which he co-wrote), lets Gallagher open up about a person of interest. "I don't mean to be unkind," he sings, "but I see what's in your mind/And the stone you throw will turn back in its path/One day you'll shatter like a wall of glass." Over acoustic strums and handclaps, "Bold" is another track that will likely have longtime fans keying on its lyrics for word on the current state of Liam. "Gonna take you off my list of to-do's/I'm gonna see my soul shake off these blues/Because it's alright now." "Better if you don't look down/At the pages of your paper crown," he sings on the poignant "Paper Crown." If the song points toward the notion of faded glory, Gallagher sounds utterly confident in delivering such lyrics as a character study and not autobiography. He offers As You Were as proof. www.undertheradarmag.com/reviews/liam_gallagher_as_you_were/
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Post by spaneli on Oct 6, 2017 10:22:33 GMT -5
I mean, they gave BE a 5.8/10. They also gave Chasing Yesterday 5.9/10. Both of those are fairly decent scores, and just below what many people would rate them. I think you didn't understand what I mean, it's not about the score or if it's well written or not, the problem is the Pitchfork itself, they aren't imparcial, they hate Oasis and have to stab the Gallaghers at every given oportunity, how can you take them serious for being this way? Pitchfork has a long history with bashing Oasis, be the 3.7/10 for TM, be the case of neither DM nor MG not featuring on their best 90's albums list, and always this thing of 4.9, 5.8, 5.9, at least be a decent person and give a 6.0 already. They recently highly rated WTSMG and DM reissues, had both of those albums in the top 10 of their best Britpop albums. They also had Live Forever in their top 25 songs of the 90s. And they were incredibly fair to CY and BE. I understand what you're saying, but you're referencing reviews from over 10 years. The best 90s album list came out in 2003. The Masterplan review was how long ago? In the last 5 years or so, they've been far more impartial on Oasis and their solo projects. Whereas in the beginning, when they were trying to be a hipster beacon, they obviously pushed against Oasis and used it as a badge of honor. But Pitchfork in general has becomes far more mainstream, especially as they have their own music festival now.
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Post by jordan71421 on Oct 6, 2017 10:25:38 GMT -5
Thing is Pitchfork's review sticks out as the only truly bad score from any of the reviews. They're in the minority here. So I think Oasis fans have a right to question those pricks. Just because it's in the minority doesn't make it bad. A review is an opinion. There are different opinions. You can’t have a negative opinion around here without people telling you you’re wrong or telling you that you shouldn’t post on here if you don’t like the music in question
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Post by thomaslivesforever on Oct 6, 2017 10:42:08 GMT -5
I mean, they gave BE a 5.8/10. They also gave Chasing Yesterday 5.9/10. Both of those are fairly decent scores, and just below what many people would rate them. Yeah they’re very fair reviews. Some Oasis fans are super touchy, it’s really annoying pitchfork.com/reviews/albums/5930-the-masterplan/Much of it probably has to do with the above for Oasisfans Although people and artists artists have other problems with it. Just some bits from wikipedia for an overview. Oh and they also delete reviews depending on which trends they are following in the present.
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Post by thomaslivesforever on Oct 6, 2017 10:43:37 GMT -5
Just because it's in the minority doesn't make it bad. A review is an opinion. There are different opinions. You can’t have a negative opinion around here without people telling you you’re wrong or telling you that you shouldn’t post on here if you don’t like the music in question Can you give examples of all those people saying you shouldn't post here?
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Post by OasisDG on Oct 6, 2017 10:52:44 GMT -5
Yeah they’re very fair reviews. Some Oasis fans are super touchy, it’s really annoying pitchfork.com/reviews/albums/5930-the-masterplan/Much of it probably has to do with the above for Oasisfans Although people and artists artists have other problems with it. Just some bits from wikipedia for an overview. Oh and they also delete reviews depending on which trends they are following in the present. Hahahahaha look at what they are saying about the 4th greatest album of the 90s!!! What vaginas
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Post by jordan71421 on Oct 6, 2017 10:54:09 GMT -5
You can’t have a negative opinion around here without people telling you you’re wrong or telling you that you shouldn’t post on here if you don’t like the music in question Can you give examples of all those people saying you shouldn't post here? You go look for them I’m not finding them for you
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Post by thomaslivesforever on Oct 6, 2017 10:55:36 GMT -5
Can you give examples of all those people saying you shouldn't post here? You go look for them I’m not finding them for you Well I haven't seen any one saying you shouldn't post here and if there is its a tiny minority and not representative of the rest. I think you are overstating the case.
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Post by jordan71421 on Oct 6, 2017 11:06:39 GMT -5
You go look for them I’m not finding them for you Well I haven't seen any one saying you shouldn't post here and if there is its a tiny minority and not representative of the rest. I think you are overstating the case. My point is that in many cases if someone on here has a different opinion from the majority they are sometimes questioned for their opinion. And then there are the more immature users insult them using words Noel/Liam have used in the past in an attempt to look cool and it’s super cringy.
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Post by Rolo on Oct 6, 2017 11:19:45 GMT -5
Pitchfork are proper knobheads.
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Post by icebreath on Oct 6, 2017 11:48:46 GMT -5
Rolling Stone review Rating: 3.5/5It may be the closest Liam Gallagher has come to apology. "In my defense all my intentions were good," the ex-Oasis singer asserts on his solo debut, in a song that shares its title with Buffalo Springfield's "For What It's Worth." "But I am a dreamer by design," Gallagher adds, as good a description of kamikaze stardom as anything he sang in Oasis, from his brother Noel's songbook. Eight years after that band's messy breakup, Liam puts his signature voice on the line in a mostly original set of strut and reflection that sticks to Oasis' template – brawny Britpop, Beatle-esque ballads – and often invigorates it. Like his brother, Liam openly quotes his inspirations: "She's so purple haze" (the suitably dreamy "When I'm in Need"); "Angels, gimme shelter/Cause I'm about to fall" (the harder, thumping "You Better Run"). There are fresh twists on the classicism too: the slashing-riff charge and falling-vocal chorus in "Greedy Soul"; Gallagher's scouring bray swimming through the acid-folk "Chinatown." As You Were lacks one Oasis specialty – straight-up helter skelter. But if the album is a few steps shy of his old band's best, it has Gallagher writing like he means it and singing like his dream isn't over. www.rollingstone.com/music/albumreviews/review-liam-gallaghers-as-you-were-w506997
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Post by The Escapist on Oct 6, 2017 11:54:20 GMT -5
^
I like that that one says For What it's Worth shares it's title with another song, and then writes out that song's title too.
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Post by icebreath on Oct 6, 2017 12:02:39 GMT -5
Spin magazine reviewIntentional or not, it was a little suggestive for Liam Gallagher to release his first ever solo album in the same week Oasis’ landmark album (What’s the Story) Morning Glory celebrated its 22nd birthday. Even the most dedicated fans of Britrock’s preeminent feuding brothers acknowledged long ago that they won’t again touch their all-time anthemic heights. And yet lately Liam, 45, feels more ubiquitous than ever. In the past year, he became more famous for withering madcap insults (potato!) than for singing rock songs, attention that drove him to remind us he was still a rock singer. By his own admission, the purpose of making As You Were was to keep him occupied, “rather than sitting at home doing nothing, spouting off on Twitter.” The final result is an agreeable enough listen, if not as proper fuckin’ mega as its creator would probably like you to think. Having finally decided to own up to his limited songwriting abilities, Gallagher enlisted help, most significantly from pop writer/producer Greg Kurstin and Andrew Wyatt of Miike Snow. (Had Noel been the one to hire Adele’s producer you can bet Liam would’ve never let him live it down, though in a year when Kurstin worked with Foo Fighters and Mark Ronson with Queens of the Stone Age, it hardly seems anomalous.) Whether because of the level or the quantity of professionalism, the sound comes through so clean it begins to feel a little stale. Contrary to popular belief, Gallagher can write a whole song. “Greedy Soul” is the best of the five tracks registered in his name alone, but unsurprisingly he’s better off with help. “Wall of Glass,” a team effort, is the only song to successfully reverse-engineering both halves of Oasis’ magic: brash melodic staying power and brilliantly inane lyrical essence. “And the stone you throw / Will turn back in its path” doesn’t defy gravity and momentum quite the same way as, “Slowly walking down the hall / Faster than a cannonball,” but the suggestion is there. The pros came up with “Chinatown,” a song that manages to be genuinely cryptic without breaking character, and “Paper Crown,” the sort of faithful midtempo Beatles homage that was the bread, butter, and cheese of old Oasis albums. Of course, the greatest favor Gallagher’s co-writers did him was to accommodate his current vocal range—though he dutifully plays the hits when performing live, they sound a lot more ragged than they used to. As You Were runs into trouble where it begins to resemble the give-me-one-of-everything pastiche that beset Beady Eye, the group Liam formed with his remaining bandmates after a 2009 falling-out with Noel torpedoed Oasis. The repetitive, top-heavy “I Get By”—a song that rhymes “helter skelter” with “gimme shelter”—is all bark and no bite. Without an equally ego-driven guitarist to offset him, Liam’s vocals take constant precedence. “When I’m in Need” turns to an extended instrumental only when it can’t possibly sustain another chorus. The standard album runs 12 songs, but unless you’re listening on vinyl, you’re more likely to encounter the 15-track deluxe edition. It’s apparent why the final songs were cut: “Doesn’t Have to Be That Way” feels like a rough Tame Impala demo, while on “I Never Wanna Be Like You,” Gallager croons, “God squad, peace thought / Supermoons / Fanboys, make noise / Boogaloo,” a string of nonsense presumably harvested from a spam email. At least it doesn’t get worse than a gripe about selfie-takers on “All My People / All Mankind,” a weak ditty whose grandiose title and orchestral arrangement render it kind of pathetic. It’s tempting to imagine how this album might have been improved, either with a keener eye to rock radio or even just some heavier distortion to blur the boring parts. But isn’t that beside the point? As You Were is a vehicle with which to perpetuate capital-LG Liam Gallagher as he ages, John Lydon-like, into his legacy. Imagine if he’d tried to drop the rock star posture and revive himself as a serious, “adult” singer-songwriter type—unbearable. This is the Liam Gallagher you remember, still willfully pilfering lines and chord progressions, still publicly taking shots at his brother, still closing sets with “Wonderwall.” The only real shock is that, in 2017, I’m not convinced Noel can do better. www.spin.com/2017/10/liam-gallagher-as-you-were-review/
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Post by icebreath on Oct 6, 2017 12:09:00 GMT -5
Sputnik Music reviewRating: 3.0 (good)Review Summary: POTATO Liam Gallagher wakes up, has a morning cup of tea and settles in for the day. Today’s finally the day that his first solo album, As You Were, is released to the public. It is a day that he has been anxiously awaiting for nearly 18 months. “What a great decision it was of me to give a solo career a proper chance,” he thinks to himself, even though he decided to do it only weeks after disparaging other artists for doing the exact same thing. He never thought he would be this excited for this day to come. Checking his computer, the NME website features no less than four articles about him, including the headline feature on their website - so you know, just another day. It’s been over twenty years since the younger Gallagher brother was on top of the world as the lead singer of Oasis. But since the band broke up after a spat at a Paris concert in 2009, Liam has been known more for his attention grabbing insults than the music he’s created. His main project after the split, Beady Eye, only proved to the public that Liam’s nasally voice was better in front of Noel’s songwriting and arrangements, to Liam’s ultimate dismay. After Beady Eye fell apart, he has been mainly spending his time conjuring up false rumors of an impending Oasis reunion on his Twitter account. He blames Noel for being the perpetrator, and as the only reason why Oasis can’t reunite and play the big stadiums like they used to and make all their fans happy. If only he had a genie and a magic lamp, his first wish would be to go back to 1996, when everything he touched turned to gold – though he won’t admit that to anyone. The phone rings – who is it? It’s the NME looking for another interview, asking him pointed questions to get another classic Liam Gallagher line that slacks someone or something off, something that will satiate its readers for a day until the next article about him is published. He gladly accepts the phone call and gives them a few lines that he won’t be able to remember in a few days’ time – something about calling Noel a “POTATO” and insult him for hob-nobbing with Bono, Johnny Marr and Paul Weller. That’ll show Noel, hah, that twat. He hangs up the phone, cracks open a lager, plays some FIFA, and waits. He has a few tour dates coming up that he’s excited to do. It’s been a while, but its second nature to him at this point, the routine is in the books, and he knows what makes the crowd go crazy. He’ll get up on stage and knock ‘em dead like he used to - arms tucked behind his back, hiding behind his sunglasses, wearing a trench coat. He’ll emphatically knock through a few of the tracks from As You Were, which he’ll spend a copious amount of time talking up while he’s on stage as the best work that he’s ever done. He’ll sing a couple of Oasis tunes that he wrote just to keep the fans happy, not for his own sake, of course. The crowd will egg him on to say something – he’ll call Noel’s band The High Flying Birds something clever like “high flying turds.” That’ll show Noel, hah, that twat. Speaking of Noel, that s***bag of a brother has a new album coming out only weeks after Liam drops his. “That’s classic Noel,” Liam thinks to himself. “The work I’ve done since Oasis split up has been better than anything Noel has done!” he tells himself unconvincingly. “’Wall of Glass’ and ‘For What It’s Worth’ is the sound of a new era – people will be grateful to me for not giving them more of that swirling psychedelic bull crap that Noel has been churning out - THIS is the sound of rock and roll! This is the sound that people have been dying to hear!” He stops for a moment, takes a sip of lager, and looks at the phone again, exhaling deeply. How he wishes that Noel would just give him a call. www.sputnikmusic.com/review/75040/Liam-Gallagher-As-You-Were/
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Post by icebreath on Oct 6, 2017 12:15:32 GMT -5
Manchester Evening News reviewRating: 4/5Let's set the terms of engagement. I was - am - a huge Oasis fan. I was 18 when Definitely Maybe came out. I grew up with the Gallaghers. Post-split, I went towards Noel rather than Liam. Better songs. Better soundbites. Beady Eye were too jabby. Capable of melody but not too often. Liam sounded raw and hurt. His personal life was up and down and, he later admitted, the instability was making him question why he was in a band if it wasn't Oasis. So he were are. The solo career he said he'd never do but, as it turns out, has unleashed everything we loved about Liam when he was at the top of his game. Rebellious, lovable, gloriously off message, but with a vulnerability crystallised in that voice. The Liam rasp is back on As You Were, but it's been conditioned with apple cider vinegar rather than 10 pints and whatever substance he can get his hands on. He told the MEN before his first ever live date - a victorious comeback at the O2 Ritz - that he'd been 'staying out of the pub, looking after himself.' Taking it seriously, basically. He is, undoubtedly, one of the finest vocalists and frontmen British music has ever had - to go out in a shower of cheap lager, divorce payments and double chins would have been a travesty. So Liam is back - a lean, mean rock and roll machine. And he's delivered an album of gloriously defiant, bombastic, searing RnR, tempered with smart production and a fair drop of harking back to his heroes. Whisper it, but at its best it sounds like... Oasis - but it also carves Liam's own sound out nicely. None of it is groundbreaking, but it's rock and roll done the right way, by a man who is nothing if not committed to the craft. Hopefully he'll see that as a compliment. A more mature Liam has put all the ups and downs of the last 20 years into a neat pile. Then kicked it over while he laughs his head off. As You Were is a triumph. Just don't call it a comeback. Wall Of GlassThe first single. You've already heard it. A statement of intent and an opening barb to...whoever. Groove-laden stomper of an opener. BoldStandout track of the album. "Yes I know, I've been bold. Didn't do what I was told." Story of Liam's life, but the vocal delivery here is flawless. It's Liam shedding the hangers-on and the ghouls - looking forward rather than back. Acoustic builds into strings. Strategic handclaps. An anthem in the making. Greedy SoulIn your face rock and roll. Simple, effective. Liam on aggressive top form. "It's a long way down, when you're the wrong way round...but now it's all too much, I've got the Midas touch." Liam on the front foot, to wonderful effect. Paper CrownShades of The Kinks and The Byrds, as Liam veers into more mellow ballad territory. Liam is possibly at his songwriting best here - admittedly with help, but one of the strengths of As You Were is that he's taken a team on board that can give his ideas structure. "And the hounds of hell, they won't lie down, On the ashes of your paper crown." For What It's WorthRedemptive Liam. Sweeping acoustic number that sees him apologise to pretty much everyone. When I'm In NeedAn ode to girlfriend Debbie 'When I'm with her, I feel I'm alive, lost in a world of her smile." Hints of George Harrison. You Better RunHi Noel. Liam's lyrics are nothing but not direct on As You Were and this track is particularly unambiguous. "I'm gonna steal your thunder, you better run, you better hide." I Get ByThe theme of Liam going on the attack carries on with I Get By. Sycophants and liars get short shrift here. "Only love can break my heart. Only love they say can tear us all apart." ChinatownLiam's musings on the police state, hipsters, Brexit, and what it means to be a wandering soul in an uncertain time. Not the strongest lyrically, but a delicately reflective tune. Come Back To MeJimi Hendrix vibes as Liam fizzes with excitement. "My head is expoding." Electric guitar weaves into a piano break as the new groove laden Liam takes over. Universal GleamProbably the only track on the album that doesn't win you over as it goes on. Oddly reminiscent of Blur's Tender and Kiss Me by Sixpence None The Richer. Remember them? Exactly. "Gonna spit you out, of my mortormouth, won't ever let you down." I've All I NeedFinal track puts Liam in his happy place. He's a fragile, romantic soul at heart. Noel onces famously said that he was a cat and Liam was a dog. "Play with me, love me, tickle my belly." A call to stick by his side is the softer side of the album. "I've all I have is you, then darling please be true." Some genuinely strong tracks by a man who probably wasn't ready to go solo until now. LG is back, and whether you like him or not, the music industry is a better - and definitely more entertaining place - with him in it. www.manchestereveningnews.co.uk/whats-on/liam-as-you-were-review-13722525
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Post by knowhaimean on Oct 6, 2017 12:24:02 GMT -5
Sputnik Music reviewRating: 3.0 (good)Review Summary: POTATO Liam Gallagher wakes up, has a morning cup of tea and settles in for the day. Today’s finally the day that his first solo album, As You Were, is released to the public. It is a day that he has been anxiously awaiting for nearly 18 months. “What a great decision it was of me to give a solo career a proper chance,” he thinks to himself, even though he decided to do it only weeks after disparaging other artists for doing the exact same thing. He never thought he would be this excited for this day to come. Checking his computer, the NME website features no less than four articles about him, including the headline feature on their website - so you know, just another day. It’s been over twenty years since the younger Gallagher brother was on top of the world as the lead singer of Oasis. But since the band broke up after a spat at a Paris concert in 2009, Liam has been known more for his attention grabbing insults than the music he’s created. His main project after the split, Beady Eye, only proved to the public that Liam’s nasally voice was better in front of Noel’s songwriting and arrangements, to Liam’s ultimate dismay. After Beady Eye fell apart, he has been mainly spending his time conjuring up false rumors of an impending Oasis reunion on his Twitter account. He blames Noel for being the perpetrator, and as the only reason why Oasis can’t reunite and play the big stadiums like they used to and make all their fans happy. If only he had a genie and a magic lamp, his first wish would be to go back to 1996, when everything he touched turned to gold – though he won’t admit that to anyone. The phone rings – who is it? It’s the NME looking for another interview, asking him pointed questions to get another classic Liam Gallagher line that slacks someone or something off, something that will satiate its readers for a day until the next article about him is published. He gladly accepts the phone call and gives them a few lines that he won’t be able to remember in a few days’ time – something about calling Noel a “POTATO” and insult him for hob-nobbing with Bono, Johnny Marr and Paul Weller. That’ll show Noel, hah, that twat. He hangs up the phone, cracks open a lager, plays some FIFA, and waits. He has a few tour dates coming up that he’s excited to do. It’s been a while, but its second nature to him at this point, the routine is in the books, and he knows what makes the crowd go crazy. He’ll get up on stage and knock ‘em dead like he used to - arms tucked behind his back, hiding behind his sunglasses, wearing a trench coat. He’ll emphatically knock through a few of the tracks from As You Were, which he’ll spend a copious amount of time talking up while he’s on stage as the best work that he’s ever done. He’ll sing a couple of Oasis tunes that he wrote just to keep the fans happy, not for his own sake, of course. The crowd will egg him on to say something – he’ll call Noel’s band The High Flying Birds something clever like “high flying turds.” That’ll show Noel, hah, that twat. Speaking of Noel, that s***bag of a brother has a new album coming out only weeks after Liam drops his. “That’s classic Noel,” Liam thinks to himself. “The work I’ve done since Oasis split up has been better than anything Noel has done!” he tells himself unconvincingly. “’Wall of Glass’ and ‘For What It’s Worth’ is the sound of a new era – people will be grateful to me for not giving them more of that swirling psychedelic bull crap that Noel has been churning out - THIS is the sound of rock and roll! This is the sound that people have been dying to hear!” He stops for a moment, takes a sip of lager, and looks at the phone again, exhaling deeply. How he wishes that Noel would just give him a call. www.sputnikmusic.com/review/75040/Liam-Gallagher-As-You-Were/ Then his comment after his dream sequence: Comments: Add a Comment ZackSh33 October 6th 2017 635 Comments Album Rating: 3.0 Noel > Liam. Who's the real potato here? Album is aight.
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Post by Velo on Oct 6, 2017 12:25:36 GMT -5
Has anyone who's given grief about the Pitchfork review actually read it? Nothing Laura wrote is really that outrageous to consider - in fact, most of her criticisms can be found right in the 'Things Not Great About As You Were' thread. Some of it is stuff people have been saying since before the album dropped.
I think the score could be a tad higher but the review itself is absolutely fine.
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Post by Deleted on Oct 6, 2017 12:35:48 GMT -5
I don´t know if anyone wants it but i´m writing a As You Were review for a page i mentioned some pages ago on this topic. Gonna start it today and send it to the headquarters which should release it a couple of days post that after the normal quality control procedures. If anyone wants it i can translate it to English(original language is Portuguese).
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Post by jordan71421 on Oct 6, 2017 12:36:16 GMT -5
Pitchfork are proper knobheads. Statements like this are what I'm referring to thomaslivesforever
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Post by Rolo on Oct 6, 2017 12:57:19 GMT -5
Pitchfork are proper knobheads. Statements like this are what I'm referring to thomaslivesforeverThey could of give Liam a 10 and I would of said the same. Pretentious idiots.
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Post by knowhaimean on Oct 6, 2017 13:17:24 GMT -5
After 17 reviews posted on metacritic AYW is holding at 73.
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Post by thomaslivesforever on Oct 6, 2017 13:28:23 GMT -5
Pitchfork are proper knobheads. Statements like this are what I'm referring to thomaslivesforeverGiven what I posted above some might describe them as such, I personally never visit there site except at these times.. I've read the review again, Its fine tbh there is at least some explanation and detail and thought that's gone into it. Its only an opinion, nowt to lose sleep over.
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