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Post by matt on Oct 7, 2017 13:10:45 GMT -5
The Quietus review is the one i'm waiting to see the most. That site can often become self-indulgent and veer into pretentiousness, but certainly not the levels seen from the self-conscious desperate wannabe hipster act of Pitchfork who chastise any act with populist appeal. Not seen too much for Liam in The Quietus (although the site runner John Doran did do that endearing interview with Liam a few months back), but they've certainly given Noel a lot of serious attention in the past few years. I do remember reading a great article touching upon the AA sessions and how he isn't the luddite that many critics perceive him to be. For a serious music journal, they've been very fair with Oasis I feel.
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Post by mancraider on Oct 7, 2017 13:12:30 GMT -5
The Quietus review is the one i'm waiting to see the most. That site can often become self-indulgent and veer into pretentiousness, but certainly not the self-conscious desperate wannabe hipster act of Pitchfork who chastise any act with populist appeal. Not seen too much for Liam in The Quietus (although the site runner John Doran did do that endearing interview with Liam a few months back), but they've certainly given Noel a lot of serious attention in the past few years. I do remember reading a great article touching upon the AA sessions and how he isn't the luddite that many critics perceive him to be. For a serious music journal, they've been very fair with Oasis I feel. That article they wrote earlier this year for the BHN reissue was excellent I thought.
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Post by matt on Oct 7, 2017 13:17:44 GMT -5
That site can often become self-indulgent and veer into pretentiousness, but certainly not the self-conscious desperate wannabe hipster act of Pitchfork who chastise any act with populist appeal. Not seen too much for Liam in The Quietus (although the site runner John Doran did do that endearing interview with Liam a few months back), but they've certainly given Noel a lot of serious attention in the past few years. I do remember reading a great article touching upon the AA sessions and how he isn't the luddite that many critics perceive him to be. For a serious music journal, they've been very fair with Oasis I feel. That article they wrote earlier this year for the BHN reissue was excellent I thought. Yep, that's right, forgot about that one.
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Post by spaneli on Oct 7, 2017 14:38:07 GMT -5
I think that ship has sailed. Nothing in that review is outrageous. People just like shitting on pitchfork as much as they deem that pitchfork shits on Oasis. They're easy targets as they've made themselves because of past reviews. Recent reviews state differently, but that bad history is still there. Fairly ironic if you think about it "This previously- ignored garbage gets scraped from the bottom of some dumpster behind Epic records, and packaged as newly- discovered gleaming treasures. Easy, eh? "Blimey, look wot I found, it's The Lost Oasis Anthology!"" "I'm afraid this compilation just isn't enough to spark a renewed interest in these quickly fading toss-pots. Obviously, it's much easier for Oasis to package shit as diamonds and chuck it out among the entertainment- starved rabble, rather than actually try and transcend the vacuum they've been writing songs in for so long." -- From their Masterplan review. "0.0" -- Their only word on Jet's "Shine On". "The band's decision to not sign with a major just makes them seem financially inept in addition to their musical shortcoming. You guys, just sell out! Independent music does not need you. Pick out those leather pants and jump into the mill." -- From their review of The Get Up Kids' "Something to Write Home About" The present doesn't look much improved, or else we wouldn't be going round in circles about this particular review. You can enjoy the wit in the writing, nothing wrong with their writing in general beyond the unbearable, unearned smugness. But don't try to sell them to me as credible music writers. That, they are most certainly not. Snapes' review points out that as Lennon died at 40, Liam has no idea how to sing now. But Liam's never imitated Lennon's voice. He certainly likes to write Lennonesque melodies, but his voice has been his own all along. A raspy Northern growl isn't a Lennon impersonation. Which perfectly exemplifies how I view Pitchfork: It was a funny quip, till you think about it for two seconds and realize it's just snark with no real basis. Like most of what they write. Enjoy it if that's your bag, but don't try to argue for their respectability. EDIT: Bonus, because apparently I needed more reasons to hate this twat. Witty but unbearable even when attempting self-parody. That's them: Pitchfork are scene chroniclers first and foremost. The music is only a partial component of what they really cover, and thus their reviews are sublimated to what they're really chasing. You're referencing a Masterplan reviews from 17 years ago. 17 years ago. My only point, is that if you look at their recent reviews of Oasis related projects (the last 5 years) they have been more than fair. Read their review of CY, BE, the MG reissue, or the DM reissue. Those are the ones I'm referencing, ie the last 5 years. It's ironic, Oasis fans complain about publications not researching the Gallaghers or them using the same tropes to describe them, then turn around and do the same. Like if a publication referenced Liam getting into a pub fight 10 years ago people would say that has nothing to do with him now, but here we are referencing a Masterplan review that's 17 years old by someone who probably doesn't even work there any more. Once again, I'm not saying that they didn't have an axe to grind with Oasis. That's clear from the reviews up until 2009. However, recent history has said that that axe isn't really there anymore. And people can throw out their opinion because they want to practice the same doctrine that they scold pitchfork for, but it doesn't change the fact that automatomatically reverted to pitchfork as hipster fodder that hates anything mainstream, no disrespect intended, is short sighted. Edit: Liam gets the Lennon comparison because he feeds into. Pitchfork isn't the only publication that makes that connection nor will it be the last. If he's going to give them a stick, then he's going to get hit by it.
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Post by ricardogce on Oct 7, 2017 15:09:08 GMT -5
You're referencing a Masterplan reviews from 17 years ago. 17 years ago. My only point, is that if you look at their recent reviews of Oasis related projects (the last 5 years) they have been more than fair. Read their review of CY, BE, the MG reissue, or the DM reissue. Those are the ones I'm referencing, ie the last 5 years. It's ironic, Oasis fans complain about publications not researching the Gallaghers or them using the same tropes to describe them, then turn around and do the same. Like if a publication referenced Liam getting into a pub fight 10 years ago people would say that has nothing to do with him now, but here we are referencing a Masterplan review that's 17 years old by someone who probably doesn't even work there any more. Once again, I'm not saying that they didn't have an axe to grind with Oasis. That's clear from the reviews up until 2009. However, recent history has said that that axe isn't really there anymore. And people can throw out their opinion because they want to practice the same doctrine that they scold pitchfork for, but it doesn't change the fact that automatomatically reverted to pitchfork as hipster fodder that hates anything mainstream, no disrespect intended, is short sighted. Edit: Liam gets the Lennon comparison because he feeds into. Pitchfork isn't the only publication that makes that connection nor will it be the last. If he's going to give them a stick, then he's going to get hit by it. And that review will continue to be quoted in another 17 years because it's as indefensibly negative as their review of Kid A is indefensibly overwrought and fawning. The Masterbloodyplan, Spaneli. I don't care how subjective art appreciation is, the most negative reaction to that album one can have and still be counted among the rational is "it's not my bag, but what they set out to do, they do very well". Which is my reaction to Justin Bieber's brand of pop. Not for me, but undeniably an excellent product within its own domain. Liam gets the Lennon comparison because reviewers are more interested in scoring a cheap joke than facts, which is the root of my distaste for Pitchfork. Cite his preferred chord progressions, or his choice of production for his Lennon-inspired tracks. Cite his fascination with Yoko, and how humble he is around her. Remind us of when he grew his hair shoulder-length and wore Lennon shades. Those are all verifiable facts, and can be used to prod Liam for his hero-worship. But accusing him of ripping off Lennon's singing style, and to be "lost" without knowing what a mid-40s Lennon would have sounded like? That's just spiteful laziness, and Snapes' otherwise great writing skills aren't enough to get me to look past BS like that. Pitchfork aren't knee-jerk mainstream haters. But they do aim to be tastemakers, and their propensity to magically change their minds when a former target meets with acclaim elsewhere is another reason I don't take them seriously as music journalists. Shall we count the reviews they have deleted once their would-be victims became scene darlings? I do give them credit for one thing, though: Reissue reviews that completely oppose the initial cartoonishly negative review. That's owning their past, and props to them. tl;dr: I still happily grant that they recruit excellent writers. Their ability to critique music as opposed to a scene is suspect too often for my liking, though.
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Post by space75gr on Oct 8, 2017 4:06:49 GMT -5
"This previously- ignored garbage gets scraped from the bottom of some dumpster behind Epic records, and packaged as newly- discovered gleaming treasures. Easy, eh? "Blimey, look wot I found, it's The Lost Oasis Anthology!"" "I'm afraid this compilation just isn't enough to spark a renewed interest in these quickly fading toss-pots. Obviously, it's much easier for Oasis to package shit as diamonds and chuck it out among the entertainment- starved rabble, rather than actually try and transcend the vacuum they've been writing songs in for so long." -- From their Masterplan review. "0.0" -- Their only word on Jet's "Shine On". "The band's decision to not sign with a major just makes them seem financially inept in addition to their musical shortcoming. You guys, just sell out! Independent music does not need you. Pick out those leather pants and jump into the mill." -- From their review of The Get Up Kids' "Something to Write Home About" The present doesn't look much improved, or else we wouldn't be going round in circles about this particular review. You can enjoy the wit in the writing, nothing wrong with their writing in general beyond the unbearable, unearned smugness. But don't try to sell them to me as credible music writers. That, they are most certainly not. Snapes' review points out that as Lennon died at 40, Liam has no idea how to sing now. But Liam's never imitated Lennon's voice. He certainly likes to write Lennonesque melodies, but his voice has been his own all along. A raspy Northern growl isn't a Lennon impersonation. Which perfectly exemplifies how I view Pitchfork: It was a funny quip, till you think about it for two seconds and realize it's just snark with no real basis. Like most of what they write. Enjoy it if that's your bag, but don't try to argue for their respectability. EDIT: Bonus, because apparently I needed more reasons to hate this twat. Witty but unbearable even when attempting self-parody. That's them: Pitchfork are scene chroniclers first and foremost. The music is only a partial component of what they really cover, and thus their reviews are sublimated to what they're really chasing. You're referencing a Masterplan reviews from 17 years ago. 17 years ago. My only point, is that if you look at their recent reviews of Oasis related projects (the last 5 years) they have been more than fair.Read their review of CY, BE, the MG reissue, or the DM reissue. Those are the ones I'm referencing, ie the last 5 years. It's ironic, Oasis fans complain about publications not researching the Gallaghers or them using the same tropes to describe them, then turn around and do the same. Like if a publication referenced Liam getting into a pub fight 10 years ago people would say that has nothing to do with him now, but here we are referencing a Masterplan review that's 17 years old by someone who probably doesn't even work there any more. Once again, I'm not saying that they didn't have an axe to grind with Oasis. That's clear from the reviews up until 2009. However, recent history has said that that axe isn't really there anymore. And people can throw out their opinion because they want to practice the same doctrine that they scold pitchfork for, but it doesn't change the fact that automatomatically reverted to pitchfork as hipster fodder that hates anything mainstream, no disrespect intended, is short sighted. Edit: Liam gets the Lennon comparison because he feeds into. Pitchfork isn't the only publication that makes that connection nor will it be the last. If he's going to give them a stick, then he's going to get hit by it. i dont get your point at all.as you v said "Read their review of CY, BE, the MG reissue, or the DM reissue"ok, i m readingBHN 5,3/10....REALLY? (2016) WTSMG 8,9/10...NOT A 10? really? (2014) not a 10 to one of the greatest albums ever? DM 8,8/10...Really? not a 10 to one of the greatest albums ever? (2014) do you have to be an oasis fan to give at least to DM and WTSMG a 10? not even a 9/10? and your verdict to start from an 8+++, agonising at least for a 9...they clearly make fun of oasis www.albumoftheyear.org/ratings/1-pitchfork-highest-rated/all/1time flies 6/10...really ? the best of oasis? DOYS 4,9/10STOP THE CLOCKS 6,5/10 DBTT 4,7/10HC 1,2/10 !!!!!!!!! Now thats what i call a review from the most trusted voice in music... THE MASTERPLAN 3,7/10 !!!!!!!!!!!!!!!! BE 5,8/10 (probably the only well written review with a point even if i dont agree with the verdict) CY 5,9/10 (0,1 more for noel...) NGHFB 5,7/10 .... AYW 4,9/10 !!!! OK...(n please dont tell me again about that ****** girl. a proffesional? my ass! you can also read some comments in her twitter page about her "review"...)
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Post by mancraider on Oct 8, 2017 12:57:57 GMT -5
unacknowledged legislation
Liam Gallagher’s As You Were puts a much-needed stridency back into rock ‘n’ roll PUBLISHED ON October 8, 2017 It’s one thing to scatter new seeds, another thing completely to cultivate the land. With the tragic loss of Tom Petty, rock ‘n’ roll lost one its most important guardians. Thank God we still have Liam Gallagher.
From Wall Of Glass down to For What It’s Worth, we have a settling of scores, an uncompromising simplicity of purpose.
Wall Of Glass is a wailing, unapologetic explosion of masculine power. The song presents the chief emotion of the album. That being: ‘I’m at the top of my game, and more’s the pity for you.’
Many of the songs to follow have an enemy in their sights, and at all times it seems that enemy is an incarnation of the modern disease, the distracted, careerist, Blairite spreadsheet monkeys, with their green tea and hot yoga.
The thudding opening chords of Bold are refreshingly simple, carrying the opening line into a quiet euphoria. ‘Gonna take you off my list of to-dos…’ This is a mature and calm manifesto of the rebellious spirit. I ain’t dead yet.
Greedy Soul needs to be played live. Nevertheless, it’s an exhilarating rise in temperature, while maintaining the emotional voice of Bold.
Paper Crown is a child-like metaphor, but as the song progresses it becomes a deeper and more powerful image. What kind of paper is the crown made of? I can’t help thinking it’s yesterday’s newspaper, bringing you the hard truth you can’t bear to see.
Of course there are shades here of Dylan’s Queen Jane Approximately – where’s all your power now your beauty has faded? But it’s worse than that. It’s the vinegar-soaked paper of an old chip packet, the mistakes of the past that can’t be origami’d into something new.
The bridge is a direct lift from Lennon’s Jealous Guy, but adds a slight operatic and dreamy quality to an otherwise straight-shooting Ashcroft-eque indie ballad. My favourite line is: ‘The hounds of hell won’t lie down on the ashes of your Paper Crown’.
Musically, a change of gear occurs with Come Back To Me and Doesn’t Have To Be That Way. The first of these is a jumpy, britpop stadium anthem. In its heart it’s a seduction song in the vein of Hendrix’s Foxy Lady. This track has one of the few outright rock solos on it, but nothing proggy or masturbatory. The Gallagher tone is never compromised, and the piano driven coda adds a swaggering, Happy Mondays feel to the fade out.
Doesn’t Have To Be That Way has some surprising shades of Human League and eighties Bowie, with a powerful opening homage to Hacienda techno. This song is new territory for Gallagher, but you can tell he is having fun, stretching his vocals and allowing the snarl of his voice to ride a different kind of beat.
This song has the quality of many radio tunes of the nineties, songs that Oasis would have given a wide berth. The guitar solo is very Doorsy, a searing slide psychedelia adding a vintage seasoning to what is really a dance-floor pop track.
For all its ‘back-to-basics’ qualities, this is a fresh and creative album that doesn’t rest on cliches and ‘the right way’ to write a song. There is a stridency, and that, more than any other factor, is what Gallagher brings to the table.
Some musos will object to Gallagher’s branding of modern music as boring and ‘beige’, but he’s not saying there’s no talent, or that people don’t rock out. He’s pointing to the fact that what passes for a ‘good song’ these days is technical accomplishment, rather than a desire to drive home a point.
Go to any open mic in London, and you are likely to find many great writers and musicians, content only to sing to their own navels. The lyrics are merely brushstrokes in self-contained little masterpieces. Nothing grabs you by the throat.
The missing link in modern music is not the talent, not technique, not the ingenuity of the songs. It’s an attitude, a point-of-view, a desire to wrestle with the perceptions of the audience, to carve experience down to potent bullets of common human understanding.
Gallagher makes no excuses for the fact that he is not re-inventing the wheel. The tendency towards demanding innovation for innovation’s sake has led to the conflation of ‘difference’ with ‘originality’.
Just doing something new and different doesn’t mean you are creating a shift in the culture. And doing something familiar doesn’t mean you are resorting to cliches either.
Anyone can be different. Being original requires being in the right place at the right time with the right tools.
Liam Gallagher’s album is an opportunity for rock ‘n’ roll to regroup.
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Post by mancraider on Oct 9, 2017 5:02:23 GMT -5
This is a well written but ultimately negative review. While I don't agree with it I can at least see that they are reviewing the music unlike some of the other hate filled bollocks others have defended above.
Header Left SECTIONS Liam Gallagher - As You Were Long-awaited solo debut fails to leave much of a mark... GARETH JAMES REVIEWS 09 · 10 · 2017 173 'As You Were' One thing you could never accuse Liam Gallagher of being is boring. As Oasis’ lustre faded, he was still snarling away in the centre of the stage honking out his vocals like an irate seal forced to pass some brutal kidney stones. That band’s elongated death rattle under the name Beady Eye ensured that Gallagher could remain the iconic frontman, even if the songs were like the Shine compilation series having an extreme anxiety dream. Their inevitable conclusion prompted a few years of taking stock and regular jogging, occasionally breaking cover to give some dependably quotable interviews. However, this first attempt at a solo album is, against expectations, disarmingly tepid. The production is oppressively bland, squashing layers of sound into polished submission. An attentive student of the complete works of Oasis has ensured that a variety of nods are made in the direction of Liam’s band life. The plaintive string effect from ‘Stop Crying Your Heart Out’ comes to mind during the otherwise unremarkable ‘Bold’, while the howling harmonica on ‘Wall Of Glass’ and ‘Greedy Soul’ neatly reference moments from that mid-Nineties hot streak. The former is one of the stronger tracks here, unsurprisingly deployed as the first teaser track, but the latter is vacuous filler with only the faintest hint of a chorus. On a couple of tracks, it feels like Mark Owen is trying his hand at another indie album after 2003’s not entirely awful ‘In Your Own Time’. It is seemingly the result of what might charitably be described as some vocal treatment applied across the record. Certainly, the verses of ‘Come Back To Me’ sound almost nothing like Gallagher and on several other songs he appears to have rediscovered a higher range that hasn’t been present in live performance for many a year. Still, sounding like a former boy-bander looking for credibility by pretending he’s in Oasis is one thing but, at other points, it’s like Liam is trying to indulge the same fantasy. The mid-paced filler of ‘Heathen Chemistry’ and ‘Don’t Believe The Truth’ is evoked by ‘I Get By’ and ‘I’ve All I Need’. ‘Chinatown’ is enjoyably ludicrous, with plucked acoustic and a sparse backdrop decorating verses of near-gibberish. The presence of the word ‘neuroses’ affords the second most Liam delivery on the record, closely behind ‘paraphernalia’ from ‘Wall Of Glass’. Experience tells us all that trying to offer much analysis of the lyrics will be a fruitless task, but all the usual clichés are in there, nestling up close to a fresh pile of non-sequiturs. Over-produced but under-written, the combined cast of co-writers and producers have failed to knit together a cohesive whole. Plenty of these songs are pleasant enough, but there’s very little to mark an artist in their prime. All the fight, the attack and the passion are dimmed by their surroundings. Liam Gallagher may well make a great solo artist, but ‘As You Were’ sadly does little to suggest it will be any time soon. 5/10 Words: Gareth James
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Post by ricardogce on Oct 9, 2017 9:17:44 GMT -5
This is a well written but ultimately negative review. While I don't agree with it I can at least see that they are reviewing the music unlike some of the other hate filled bollocks others have defended above. Header Left SECTIONS Liam Gallagher - As You Were Long-awaited solo debut fails to leave much of a mark... GARETH JAMES REVIEWS 09 · 10 · 2017 173 'As You Were' One thing you could never accuse Liam Gallagher of being is boring. As Oasis’ lustre faded, he was still snarling away in the centre of the stage honking out his vocals like an irate seal forced to pass some brutal kidney stones. That band’s elongated death rattle under the name Beady Eye ensured that Gallagher could remain the iconic frontman, even if the songs were like the Shine compilation series having an extreme anxiety dream. Their inevitable conclusion prompted a few years of taking stock and regular jogging, occasionally breaking cover to give some dependably quotable interviews. However, this first attempt at a solo album is, against expectations, disarmingly tepid. The production is oppressively bland, squashing layers of sound into polished submission. An attentive student of the complete works of Oasis has ensured that a variety of nods are made in the direction of Liam’s band life. The plaintive string effect from ‘Stop Crying Your Heart Out’ comes to mind during the otherwise unremarkable ‘Bold’, while the howling harmonica on ‘Wall Of Glass’ and ‘Greedy Soul’ neatly reference moments from that mid-Nineties hot streak. The former is one of the stronger tracks here, unsurprisingly deployed as the first teaser track, but the latter is vacuous filler with only the faintest hint of a chorus. On a couple of tracks, it feels like Mark Owen is trying his hand at another indie album after 2003’s not entirely awful ‘In Your Own Time’. It is seemingly the result of what might charitably be described as some vocal treatment applied across the record. Certainly, the verses of ‘Come Back To Me’ sound almost nothing like Gallagher and on several other songs he appears to have rediscovered a higher range that hasn’t been present in live performance for many a year. Still, sounding like a former boy-bander looking for credibility by pretending he’s in Oasis is one thing but, at other points, it’s like Liam is trying to indulge the same fantasy. The mid-paced filler of ‘Heathen Chemistry’ and ‘Don’t Believe The Truth’ is evoked by ‘I Get By’ and ‘I’ve All I Need’. ‘Chinatown’ is enjoyably ludicrous, with plucked acoustic and a sparse backdrop decorating verses of near-gibberish. The presence of the word ‘neuroses’ affords the second most Liam delivery on the record, closely behind ‘paraphernalia’ from ‘Wall Of Glass’. Experience tells us all that trying to offer much analysis of the lyrics will be a fruitless task, but all the usual clichés are in there, nestling up close to a fresh pile of non-sequiturs. Over-produced but under-written, the combined cast of co-writers and producers have failed to knit together a cohesive whole. Plenty of these songs are pleasant enough, but there’s very little to mark an artist in their prime. All the fight, the attack and the passion are dimmed by their surroundings. Liam Gallagher may well make a great solo artist, but ‘As You Were’ sadly does little to suggest it will be any time soon. 5/10 Words: Gareth James Aye. Vehemently disagree with the review (really, complaining of "neuroses" and "paraphernalia" being successfully worked into the lyrics?), but he clearly did his homework and knows the Oasis canon. Spaneli, this is what I'm talking about!
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Post by elephantstone93 on Oct 9, 2017 11:10:06 GMT -5
Seems to be staying at 73 at the minute on Metacritic. I thought it would drop into the 60s but it’s looking good for now. Makes it the third best reviewed Gallagher album of all time. Some reviews don’t make it to Metacritic as the source is too small, but that works both ways as soom good aren’t on there and some bad.
He done good!
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Post by mancraider on Oct 9, 2017 19:13:58 GMT -5
LIAM GALLAGHER RETURNS TO THE SPOTLIGHT WITH “AS YOU WERE” BY ROB MILLEROCTOBER 9, 201730 SHARE:
The former Oasis frontman returns to the music scene with latest solo album As You Were, his first new album in nearly four years.
Since the dissolution of Oasis in 2009, the Gallagher brothers have gone on to work on respective solo careers. Liam Gallagher, with his new group Beady Eye, released their first album to little critical acclaim. Two years later he would release another album with the group to mixed reviews. They split shortly after and Gallagher left the music scene for quite sometime. Now, 4 years later, the singer has returned into the spotlight with his first solo album As You Were.
Liam’s first solo album is fiery piece of rock. The album is lead by the drums and bass, the guitar serves as rhythm on majority of the songs. The album opens with “Wall of Glass” and hard hitting song that shows Liam is here to rock. The track features a distorted harmonica, fuzzy guitar riff, and a pounding drum intro that will be sure to get you moving right off the bat. What follows after the opening is a mix of rock n rollers and surprisingly heartfelt tracks from the often crass rocker.
Fans were treated to tastes of the album earlier this year with the singles “Wall of Glass”, “For What It’s Worth”, and “Chinatown”, all of which aren’t even the best parts of the album. Tracks like “Bold”, “Greedy Soul”, and “I Get By”are songs filled with infectious hooks, beats you can dance and clap to, and shows Liam has lost none of his edge throughout the years. His vocals have never sounded better.
The best parts of the album are the ones that show how Liam has grown as a songwriter over the years. It’s no secret that Oasis singer/guitarist Noel Gallagher wrote a vast majority of the band’s lyrics and while Liam wrote a few songs (two of which were hits in the later part of the band’s career) it was his brother’s songs that often took the forefront. Here, Liam shines as both a leading man and songwriter. “Paper Crown”, “When I’m In Need”, and “I’ve All I Need”, are fantastic ballads that showcase a softer side of the singer. “Chinatown” is a swirling track that allows one to get lost when you close your eyes and envision yourself walking through the streets of China.
The album isn’t flooded with guitar solos, in fact, the guitar on the record is mainly acoustic with bits of electric placed about. The band mainly consists of drums, piano, bass, and acoustic and electric guitar. One of the album’s only guitar solos on the track “Come Back to Me” channels Revolver-era Harrison. Majority of the tracks feature the acoustic taking the front with the piano and drums being the driving force to get one moving.
It’s no argument that Gallagher’s solo act Beady Eye was Oasis-lite for lack of a better term. On As You Were, the singer has a new found energy and is back with a force. The album clocks in at almost 45 minutes but goes by in the blink of an eye leaving you wanting more. Liam Gallagher shows he’s not a one-trick pony or trying to relive the glory days of Oasis. As You Were is his best album since Oasis’ Dig Out Your Soul in 2009. His vocals have never sounded better and lyrics have never been sharper. Backed by a talented group of studio musicians, it’s going to be no surprise if he becomes a rock tour de froce throughout North America later this year.
Later this year fans can expect a solo album from Liam’s brother Noel, and while Noel has released two solo albums already to critical acclaim, As You Were is sure to give him a run for his money this year with some heavy competition.
As You Were is in stores now. You can catch Liam Gallgher on tour this year. See if he’s hitting your town below..
13 November – San Francisco, CA – Warfield 18 November – Denver, CO – Gothic 20 November – Minneapolis, MN – First Avenue 21 November – Chicago, IL – The Riviera 23 November – Toronto, Ontario – Rebel 25 November – Boston, MA – House of Blues 27 November – New York, NY – Terminal 5 29 November – Washington, DC – Lincoln Theatre 30 November – Philadelphia, PA – Union Transfer
Check out the video for “Chinatown” from As You Were”
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Post by Deleted on Oct 10, 2017 21:50:18 GMT -5
www.spin.com/2017/10/liam-gallagher-as-you-were-review/Intentional 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.
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Post by bringmethemonkey on Oct 10, 2017 22:03:03 GMT -5
I guess I'm going to say fair call on this one....don't get me wrong..I really love the album
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Post by Deleted on Oct 11, 2017 4:29:31 GMT -5
I find it funny that the post before the Pitchfork review was a 5/5 review. Polar opposites 😂 Never trusted Pitchfork. Not just the reviews they give Liam and Noel, their reviews in general are awful. Pitchfork are for snobbish hipsters anyway (I'm a big fan of experimental music). They just don't like the Gallaghers and never will.
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Post by AubreyOasis on Oct 11, 2017 12:44:19 GMT -5
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Post by mancraider on Oct 11, 2017 13:09:46 GMT -5
www.spin.com/2017/10/liam-gallagher-as-you-were-review/Intentional 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. Seems a bit unfair blaming I Get By for You Better Runs lyrics.
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Post by elephantstone93 on Oct 11, 2017 15:30:51 GMT -5
Liam is just a man making music. They seem to be offended by that. I’m sorry but I completely understand people criticising the album, music is subjective, but shite like this and Pitchfork’s review are clearly going into it with an agenda. I know there was a bit of a debate on here as to whether they do have an agenda or not, but just read that fucking review. They had prepared to hate it. What was the reason to quote Little James? What was the reason to mock everything that has put his name in the press this year (Making tea!)? What was the reason to to hashtag #laddism? Why state a third of the album isn’t his because he didn’t write it? Most solo artists have co-writers on some tunes! They do not like the man and it takes over their review. As I said I can understand fair criticism but that was a load of shite. Understandable from a source that gave BE 0/10. vaginas.
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Post by mancraider on Oct 12, 2017 9:15:33 GMT -5
Rockisntdead
Review – As You Were – Liam Gallagher OCTOBER 11, 2017 / WILDO48172 So here it is, the moment many have been waiting for since the split of Beady Eye in late 2014, Liam Gallagher has released a solo album.
Gallagher Jr, has been back in the limelight since the announcement of his album, ‘As You Were’, and it’s good to have him back. The Question is, is ‘As You Were’ any good? Does it sound like Oasis? And is Liam back for good?
The answers are, yes, kind of, and I bloody hope so.
‘As You Were’ has the makings of a modern day classic. Opening track and lead single ‘Wall of Glass’ blew many people away when it was first released and it’s a perfect opener for this ‘I don’t give a shit’ of an album.
‘Wall of Glass is one of the albums more ‘rocky’ songs. Along with the raging ‘Greedy Soul’, the cockey ‘You Better Run’, and thunderous ‘I Get By’. These will be most people’s stand out tracks, as they encapsulate the raw essence of Liam Gallagher.
But where this album really excels is the quieter songs, like single ‘For What Its Worth’ which is already an instant classic and in Gallagher’s own words, the ‘most Oasisy song on the album.’
‘For What Its Worth’ is joined by anthem in the making ‘Bold’. which for me is one of the stand out songs on the album. Its soft opening featuring one of the albums many digs at brother Noel, “There’s no love worth chasing yesterday”. Chasing yesterday being the name of Noel Gallagher’s’ second solo effort. But ‘Bold’ builds and builds into a triumphant chorus that will leave many stunned.
The other tracks on the album follow this vein of slower, more contemplative songwriting. ‘Chinatown’, ‘When I’m In Need’, and the superb ‘Paper Crown’, offer something fans have not seen from Liam Gallagher before. And, yes, while he didn’t write these songs himself, it is easy to see he had a big hand in the style and composition of some of these slower tracks.
The album closer, ‘I’ve All I Need’, just about sums up Gallagher’s state of mind at the moment, he has openly admitted that he doesn’t care how the album does, he’s just happy making music. That won’t matter however because currently As You Were is sitting at the top of the charts around the world, and in the UK alone is selling more copies than the rest of the top 20 albums combined.
This album is simply brilliant, yes it’s silly, and yes some of the lyrics are ridiculous, “The cops are taking over, while everyone’s in yoga” from’Chinatown’. But that’s what you want from a Liam album, and if you don’t like those kind of songs then go and listen to ‘Greedy Soul’, and tell me when you change your mind. As You Were x
5/5
Must Listen To – Greedy Soul, Bold, You Better Run
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Post by icebreath on Oct 14, 2017 10:07:42 GMT -5
ultimate-guitar.com review Sound: 7 Lyrics: 6 Overall Impression: 8 Reviewer's score: 7 GoodUsers' score: 6.3 (9 votes) Sound — 7Liam Gallagher is famous as lead-vocalist and co-founder of the legendary band Oasis. Another co-founder of the band was Noel Gallagher, Liam's elder brother. The brothers had strained relations throughout the career and they do have now. Their permanent conflicts led to the end of their Oasis-era in 2008. Both brothers chose their own ways. Noel left Oasis and formed Noel Gallagher's High Flying Birds. Actually, the band is to release third album in November, 2017. But the rest of Oasis' members stayed with Liam and released 2 studio records as Beady Eye. There were "Different Gear, Still Speeding" in 2011 and "BE" in 2013. And all these albums are hard to review as even Oasis repeated all the same clichés from album to album. Of course, there's more dynamic behind the first Beady Eye record. In fact, it reminds of "Definitely Maybe" with extensive usage of influences from the '60s. But it was still clear that Beady Eye is different name, still Oasis. "BE" was less typical, it had slicker guitars and there were more beautiful strings. It was catchier, more dramatic and it was a little step from comfort zone. Beady Eye are no longer active, but Liam Gallagher is still in the game. And 4 years later since the release of "BE" he's back with his debut solo album "As You Were". Let's be honest, no one ever expected anything interesting from Liam (if you're not an Oasis fan). But Liam breaks all our low expectations on "As You Were". In fact, Liam still makes what he always could. He presents us a dozen of pop-songs, created in the good old well-known by everyone stylistic. The entire album is pompous, arena-rock-inspired. It can definitely compete with material, that Noel creates with his band. There's much more composer's talent on this record. Liam's songs have never been so catchy since the early '00s. Though the dominating instruments are acoustic and electric guitars, there're great arrangements too. For example, we can hear touching strings on the album, though it's predictable. But there're also harpsichord ("When I'm In Need") and harmonica parts. Female back-vocals (which have never taken place) add up to the pop-orientation of the album. The drum-parts are impressive, though the production isn't that great on several tracks. But the best thing about the album is Liam's vocals. His vocal performances are sometimes smooth, sometimes sharp. But they aren't as sharp as they were during Oasis-era. They were even edgy, but now his vocals are like a room with smoothed corners. They are pleasant and touching on songs "Bold" and "Chinatown". At the same time they are rock-n-rollish on tracks like "Wall Of Glass" or "Greedy Soul". But this combination of smoothness and sharpness isn't only about his vocals. It's about the track-listing too. Beautiful slow-tempo songs coexist with catchy post-Britpop bangers. And this combination of moods from-track-to-track doesn't bother at all. And the key point is Liam's eclectic vocals again. The way he changes his manner of singing co-relates with music in the best way. And the sharpness of his timber is always smoothed with female back-vocals. Though this method is still clichéd, it's great to notice such changes. Of course, there's still an echo of Oasis experience. For example, a hook on the "For What It's Worth" reminds of "Don't Look Back In Anger" a lot. And it brings us back to life all the time. It's like a falling during the flight. The reason is you've already listened to so many unusual and good songs... and then you wake up and realize that it's still post-Oasis Liam. The main problem of many legendary-in-the-past artists is to break free from the past. And the most noticeable on this record is that Liam Gallagher does try to break free. But still the tracks, which remind of Oasis most of all, are the rare low points of the entire record. Lyrics — 6But the greatest drawback of the record is a lack of lyricism. Again, the lyrics weren't the strongest side even during the Oasis-era. And so they weren't during Beady Eye-era. Actually, nothing changes on "As You Were". All the songs deal with love experience. They are with necessary for pop-music abstract "you". Unfortunately, the lyrics don't explore deep feelings and passions. Thus it feels they aren't sincere. Though it's understandable that the lyrics are sincere, the clichés do bother. Same metaphors, same words and rhymes, same promises and emotions. That's boring. That doesn't give us anything special or brand-new. The best way to take the lyrics is to keep in mind, that Liam is a legendary figure and he can write such lyrics. And it's essential for "As You Were" to co-relate lyrics with music. For example, you'll fall in love with so naive lyrics, if you combine them with the music. The key point is not to separate them. It works with both touching tracks ("Bold", "Chinatown", "Universal Gleam") and dynamic tracks ("Greedy Soul"). Overall Impression — 8All in all, "As You Were" is the most unexpected experience for listeners. If you don't like Britpop and Oasis, you'll say that this record is another record by one of the Gallaghers, meh. And that's partly true. But if you're into such type of music, you'll find out all the nuances of Liam's evolution as an artist. This record isn't a lot different from the previous works. But little details create the whole image. And these details allow us state that this albums is one of the best records by Liam. All the tracks on the record are in the same stylistic, yet in different moods. And the style of the record is something, that wasn't on Beady Eye's records. It's something, that prevents album from falling into independent pieces. The most captivating about this album is that it's so different and so familiar at the same time. It's both simple and sophisticated. It contains both weak lyrics and strong instrumentals. And "As You Were" is like a quest, which you have to solve by combining opposing extremes. And if you succeed in it, you'll receive the hope, that post-Britpop guitar music takes place in 2017. www.ultimate-guitar.com/reviews/compact_discs/liam_gallagher/as_you_were/46753/
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Post by knowhaimean on Oct 16, 2017 13:10:54 GMT -5
www.getintothis.co.uk/2017/10/liam-gallagher-debut-solo-album-track-track-review/Liam Gallagher: As You Were album track by track review ON 16TH OCTOBER 2017 ALBUMS, OPINION Liam Gallagher’s debut soio album has just been released and Getintothis’ Lewis Ridley runs through it track-by-track. Liam Gallagher, a self-acclaimed national treasure, has spearheaded a turbulent lifestyle since the splitting of Oasis following feuds with brother Noel back in 2009. The younger of the pair endured some quiet times, following the end of new band Beady Eye in 2014, residing in the background while his elder sibling produced two solo albums as Noel Gallagher’s High Flying Birds. When he returned to the public eye through his entertaining Twitter account, posting videos of him clearly enjoying himself on numerous holidays, he remained true to the fact he wasn’t ready to produce music again. Months went by and Liam seemingly became hungry for more, and in June this year he released the artwork and title for his album As You Were, that was released on Warner Bros on Friday October 6. The album is the catalyst for a string of UK tour dates before Christmas, and LG is back on the scene with a record that expresses past frustrations and fresh creativity. Morrissey: Viva Hate or True Love 4Eva? Singles Wall of Glass, Chinatown, and For What It’s Worth were released over the summer months wetting the appetite for the 12-track LP (or 15 if you’re feeling deluxe). It is that first single, Wall of Glass, that opens up the album in typical Liam fashion. From a linguistic perspective, sibilant lyrics sneer out of the track,and with a rock and roll perspective they square up to you with a pool cue in hand. On the video for the track he leans into the camera provocatively, enquiring through an opening statement which sets the bar for his solo career. On the festival circuit it was a winner, and here is a familiar opening before we get some newer stuff. That newer stuff comes in the form of Bold, although strictly speaking those that ventured out to the festivals will have caught this as part of his setlist. It is truly something in between Don’t Believe The Truth and Dig Out Your Soul. The mention of the album title of Noel‘s latest release stands out in the early exchanges, and the vibe of a solo artist makes itself clear. Alternating between addresses of ‘I’, ‘you’ and ‘me’, it leads into a soulful bridge before ascending back into the chorus. Greedy Soul comes as we’ve caught our breath, a direct assault that sounds like trash-talk at a boxing press conference. Gallagher is far from on the ropes, and in the third round his tail is up and he’s on his toes. Of course, there’s evidence for every track to link to his brotherly feud – but let’s stay away from that, maybe (definitely) there are other people he has in the past crossed words with. Track 4 is Paper Crown, a teaser of which was released in the week leading up to the release. It’s the first glimpse of Beatles inspiration, as dual vocals tell a story of fragility and honesty and the foundations of this track sit firmly with Sgt. Pepper, a frequent source of inspiration. If you listen to the bridge of this track alongside A Day In The Life many more similarities than just partially distorted vocals are revealed. ‘In my defence all my intentions were good, and heaven knows a place somewhere for the misunderstood…’ The opening line of third and final pre-release single For What It’s Worth begins another honest and open track that lays Liam bare. But when, at the halfway stage, the lyrics reveal ‘a fire within’ we can assume although service has resumed far from where he left off, there remains creativity and determination – this album being the result. The next track is When I’m In Need is the tune that has a profound demo feel. It is the first appearance as well for a female character. It should be said that romance is far from the top of the list when it comes to inspiration for As You Were but as this track flowers, maybe it reveals a different side to his boisterous character. We’re back with physicality with You Better Run. It’s at this point that the amount of album and track titles from various bands becomes apparent. We see more than just glimpses of Gimme Shelter, All of Nothing, Helter Skelter and Love Will Tear Us Apart – either by intention or coincidence, In many ways they form an interesting strata beneath the blindingly obvious on the album. Chinatown was released as the middle single over the summer. It was probably the most scrutinised track over the summer, and it will remain one that slightly polarises listeners by opinion. The guitar sound in Chinatown, lucid and chiming develops more with Come Back To Me, yet in a more upbeat way. Perhaps the male/female relationship we heard before has returned to reel in someone who’s gone ‘a bit too far’, However, one might suggest if anyone has needed to curtail things since 2009 it would be tricky for Liam to point a finger. Universal Gleam comes not from Lennon or Gallagher, N, but from his time in Beady Eye. Tracks The Morning Son from 2011’s ‘Different Gear, Still Speeding’ or Start Anew from 2013’s ‘BE’ are incredibly similar as the album winds down. Somwhat unexpectedly, Universal Gleam was a pick for fans sharing the song on social media. Lost Liverpool #19: The Bandwagon, The Zanzibar & famous nights with Noel Gallagher While we’re on Beady Eye, the intro to final track I’ve All I Need is the twin brother of the same section of Flick of The Finger from their final release. It’s the perfect album closer, retrospective, it even says ‘there’s no time for looking back, thanks for all your support’. and is one of the moments of the album where Liam’s attitude is radiant. Love or hate him. this has been an interesting journey- but this track is for those who’ve stuck around, and it’s quite emotional. There are three deluxe tracks in the form, firstly, of It Doesn’t Have To Be That Way – probably placed as an extra because of its difference to any other track on the album. All My People / All Mankind is a Lennon title if there has ever been one, with a signature ‘shiiine’ just for good measure, and a poignant lyrics by way of ‘selfies, what a fucking disease.’ The final tune of the 15 is I Never Wanna Be Like You, a parting gift and the last we’ll hear from him for now. As You Were is out now, and Liam Gallagher plays a sold out UK tour including dates in Glasgow, Birmingham, London and Manchester in November and December.
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Post by Deleted on Oct 16, 2017 18:23:41 GMT -5
ultimate-guitar.com review Overall Impression: 8 Reviewer's score: 7 GoodHow does that even work?
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Post by icebreath on Oct 17, 2017 6:18:41 GMT -5
musicOMH Rating: 3.5/5
Liam Gallagher’s first solo album, three years after the fizzling out of his post-Oasis band Beady Eye, is surprisingly good. It is named after the sign-off he uses for his Twitter posts, but also suggests a backward step, a return to the raunchy rock ’n’ roll basics that the retro(grade) Gallagher brothers made their name with. But in fact As You Were feels like Liam, at the grand old age of 45, maturing musically – up to a point. On the cover, he eyeballs us as truculently as ever as if snarling, ‘Are you looking at me? And if not, why not?’ Yet the songs reveal a softer, more reflective character than you’d expect, a strange brew of vulnerability mixed with swagger. After reaching middle age, experiencing the comedown of Beady Eye following the highs of Oasis, and going through two divorces, as well as the very public breakdown of his relationship with big brother Noel, it seems he might be growing up at last. Though he’s contributed, Gallagher has not become known as a songwriter while the frontman of his two previous bands. But now, as a solo artist, apart from on a couple of tracks, he has had a hand in all the songs, and indeed wrote half by himself. It’s the first time that he has used the services of external professional songwriters, which may show he needed help in rescuing his career, but also that he has opened himself up to new ways of working, away from the old template within a band of rock musicians. It is to his benefit. Most of the album is produced by British indie producer Dan Grech-Marguerat. But Grammy-nominated American songwriter, multi-instrumentalist and producer Greg Kurstin – best known for collaborating with stars like Adele, Taylor Swift and Katy Perry – has added some bright pop sheen (especially to stand-out song Wall Of Glass), while the more alternative American musician Andrew Wyatt, latterly of Miike Snow, has also contributed to several songs. If Gallagher’s songwriting has evolved with a little help from his new friends, he has definitely been working on his own singing to great effect. His default mode has always been one of ballsy gusto, belting out rockers – a narrow range that he executed with considerable conviction. But he has widened his repertoire here by going for higher notes and following the melodic line with more warmth. Unfortunately, though the music sounds refreshed, much of the lyrics are a mess with their half-baked sentiments and unconvincing half-rhymes (eg. “You were sold a one direction / I believe the resurrection’s on”). Ah well – as you were. The album features a surprising number of slower-tempo songs and power ballads, often with discreet backing from strings and brass. The usual musical influences are on show, including The Beatles (especially John Lennon), The Rolling Stones, T Rex and Slade, with Gallagher even sometimes directly quoting from his heroes’ material: “purple haze”, “gimme shelter”, “helter skelter”, “’Cause happiness is still a warm gun”, “tomorrow never knows”. Lead single Wall Of Glass is a super-catchy slice of disco-rock with soulful female backing vocals, blasts of harmonica and shards of guitar shattering everywhere. Also very tuneful is Bold, the first song Gallagher wrote as a solo artist, which asserts his own headstrong character while perhaps also reflecting his divorce from Nicole Appleton in 2015: “I’ve been bold / I didn’t do what I was told.” Greedy Soul reverts to type as an all-out rocker with some rather silly vampire horror imagery: “She got a six six six / I got my crucifix / She’s got a spinning head / Like seeing Grateful Dead.” Paper Crown, though, is a much gentler, folksy number with acoustic guitars and Gallagher reaching for his falsetto – and finding it. For What It’s Worth is a mid-tempo song with a similar vibe to Look Back In Anger, looking back at the mistakes he’s made in his life – a sort of apology to those he has hurt, including possibly an olive branch held out to Noel: “Let’s leave the past behind with all our sorrows / I’ll build a bridge between us and I’ll swallow my pride.” Even more Fab Four in sound is the simple love song When I’m In Need. You Better Run is a menacing glam-stomp with Gallagher threatening to see off young rock pretenders to his crown: “I see you, you think you’re something / Well you’re nothing, you’re a butterfly.” The tempo is still high with I Get By but the subject is the pain of breaking up. The slow roller Chinatown is the most chilled-out track which at one point gets quite fuzzy. Come Back To Me has darker notes but is a plea to get back together. Universal Gleam promises to his faithful love “I won’t ever let you down”. And I’ve All I Need exudes a mellow mood of acceptance: “Slow down, all things must pass / Take your time, know the score.” Gallagher is never going to win awards for originality, but he has definitely progressed musically with this solo debut. With Noel and his High Flying Birds releasing their third album next month, the brothers are due to go head to head again. This time, however, Liam can feel confident he will hold his own. www.musicomh.com/reviews/albums/liam-gallagher-as-you-were
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Post by space75gr on Oct 17, 2017 11:07:20 GMT -5
always a pleasure to read a review in musicOMH (no matter if the verdict is good or not). One of the greatest sites if you want to know about an album.Thats what i call "the most trusted voice in music"
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Post by icebreath on Oct 17, 2017 12:48:03 GMT -5
always a pleasure to read a review in musicOMH (no matter if the verdict is good or not). One of the greatest sites if you want to know about an album.Thats what i call "the most trusted voice in music" ASW is keeping strong on metacritic after 23 critic reviews. It has 71 score and not a single negative review. In comparison HFB has 69 with 33 critic reviews.
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Post by ibuiltthemoon on Oct 21, 2017 3:14:45 GMT -5
Im a little surprised album has averaged so well in reviews (around 7/10), I’ve been a Gallagher fan since DM, and there are parts of this album which are good but there isn’t anything special, no real memorable tracks and there are quite a few throwaway tracks. I think all the interviews & pre album stuff he’s done helps with the marks. Its more a 5/10 album which tbf is what a lot of the main music sites have given it I guess.
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