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Post by Rain on Nov 26, 2017 22:17:20 GMT -5
I've been a fan since 1996. I own every record, handful of singles and movies. After many interesting Noel interviews about Oasis fans and the lack of care towards fans. I did not buy this album. I do have it. Protest and apparently he's so rich to care, right? I did buy Liam's record. I had a proper Sunday drive and listen to the Album in the car. It's ok, but lots of noise. I don't think it will age well. His first album will and second had many great tracks. This one didn't hit me as so.
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Post by Lennon2217 on Nov 26, 2017 23:25:32 GMT -5
I've been a fan since 1996. I own every record, handful of singles and movies. After many interesting Noel interviews about Oasis fans and the lack of care towards fans. I did not buy this album. I do have it. Protest and apparently he's so rich to care, right? I did buy Liam's record. I had a proper Sunday drive and listen to the Album in the car. It's ok, but lots of noise. I don't think it will age well. His first album will and second had many great tracks. This one didn't hit me as so. Give it another spin or two.  |
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Post by Lennon2217 on Nov 26, 2017 23:26:59 GMT -5
Love the album. It's great. It's different but it's not different for the sake of it. Hope he works with David againThis a thousand times over. Don't let it end here.  |
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Post by Lennon2217 on Nov 26, 2017 23:29:35 GMT -5
Who else likes Be Careful What You Wish For too? It chills you out after those first five busier songs. Damn fine tune for sure. |
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Post by Lennon2217 on Nov 26, 2017 23:34:22 GMT -5
What happened to the song that Noel said he sung in the highest register ever and was almost uncomfortable to sing. Anyone? I'm pretty sure that song is "Keep On Reaching". |
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Post by Lennon2217 on Nov 26, 2017 23:47:16 GMT -5
TMWBTM has got a killer riff, soundtrack to a murder scene on a Tarantino film! just ran an OOPS mix on it, amazing brass work is hidden in those layers It has shades of This Is Hardcore by Pulp, just not quite as good. Similar vibe. I actually really like The Man Who Built The Moon though. This Is Hardcore is a great track though. Even if TMWBTM is only half as good, that's still good.. This is an interesting take. I adore that Pulp album. |
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Post by Rain on Nov 27, 2017 0:15:08 GMT -5
I've been a fan since 1996. I own every record, handful of singles and movies. After many interesting Noel interviews about Oasis fans and the lack of care towards fans. I did not buy this album. I do have it. Protest and apparently he's so rich to care, right? I did buy Liam's record. I had a proper Sunday drive and listen to the Album in the car. It's ok, but lots of noise. I don't think it will age well. His first album will and second had many great tracks. This one didn't hit me as so. Give it another spin or two. I will.  |
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Post by Lennon2217 on Nov 27, 2017 0:18:07 GMT -5
Give it another spin or two. I will. I'm curious about your comment that you don't think MOON will age well? What in particular makes you think that? I think it'll sound the best as time goes by. Certainly better than Noel's debut which was kinda hodge podge in production. |
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Post by Rain on Nov 27, 2017 1:07:52 GMT -5
I will. I'm curious about your comment that you don't think MOON will age well? What in particular makes you think that? I think it'll sound the best as time goes by. Certainly better than Noel's debut which was kinda Hodgepodge in production. I remembered the hype and high comments of DOYS. Today, there are not many fans can listen to that album. Most stated it's the worst Oasis album de-throwing HC as the worst. I think the sound is very similar to DOYS or left off. For me, the first album NGHFB had simple melodies and lyrics. All Oasis hits were simple melodies and lyrics. Most of WBTM? sounds like a car commercial music. I will give it time. CY took a bit for me. NGHFB was instant. |
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Post by Lennon2217 on Nov 27, 2017 1:14:43 GMT -5
I'm curious about your comment that you don't think MOON will age well? What in particular makes you think that? I think it'll sound the best as time goes by. Certainly better than Noel's debut which was kinda Hodgepodge in production. I remembered the hype and high comments of DOYS. Today, there are not many fans can listen to that album. Most stated it's the worst Oasis album de-throwing HC as the worst. I think the sound is very similar to DOYS or left off. For me, the first album NGHFB had simple melodies and lyrics. All Oasis hits were simple melodies and lyrics. Most of WBTM? sounds like a car commercial music. I will give it time. CY took a bit for me. NGHFB was instant. Circle back in a few weeks and update your initial thoughts. |
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Post by CFC2013 on Nov 27, 2017 1:28:31 GMT -5
I'm curious about your comment that you don't think MOON will age well? What in particular makes you think that? I think it'll sound the best as time goes by. Certainly better than Noel's debut which was kinda Hodgepodge in production. I remembered the hype and high comments of DOYS. Today, there are not many fans can listen to that album. Most stated it's the worst Oasis album de-throwing HC as the worst. I think the sound is very similar to DOYS or left off. For me, the first album NGHFB had simple melodies and lyrics. All Oasis hits were simple melodies and lyrics. Most of WBTM? sounds like a car commercial music. I will give it time. CY took a bit for me. NGHFB was instant. Not really. |
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Post by Rain on Nov 27, 2017 2:18:19 GMT -5
I remembered the hype and high comments of DOYS. Today, there are not many fans can listen to that album. Most stated it's the worst Oasis album de-throwing HC as the worst. I think the sound is very similar to DOYS or left off. For me, the first album NGHFB had simple melodies and lyrics. All Oasis hits were simple melodies and lyrics. Most of WBTM? sounds like a car commercial music. I will give it time. CY took a bit for me. NGHFB was instant. Not really. ok.. You gotta roll with it You gotta take your time You gotta say what you say Don't let anybody get in your way 'Cause it's all too much for me to take Don't ever stand aside Don't ever be denied You wanna be who you'd be If you're coming with me I think I've got a feeling I've lost inside I think I'm gonna take me away and hide I'm thinking of things that I just can't abide I know the roads down which your life will drive I find the key that lets you slip inside Kiss the girl, she's not behind the door But you know I think I recognize your face But I've never seen you before You gotta roll with it You gotta take your time You gotta say what you say Don't let any fucker get in your way 'Cause it's all too much for me to take I know the roads down which your life will drive I find the key that lets you slip inside Kiss the girl, she's not behind the door But you know I think I recognize your face But I've never seen you before You gotta roll with it You gotta take your time You gotta say what you say Don't let anybody get in your way 'Cause it's all too much for me to take Don't ever stand aside Don't ever be denied You wanna be who you'd be If you're coming with me I think I've got a feeling I've lost inside I think I've got a feeling I've lost inside I think I've got a feeling I've lost inside I think I've got a feeling I've lost inside I think I've got a feeling I've lost inside I think I've got a feeling I've lost inside I think I've got a feeling I've lost inside I think I've got a feeling I've lost inside |
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Post by freddy838 on Nov 27, 2017 2:20:58 GMT -5
I remembered the hype and high comments of DOYS. Today, there are not many fans can listen to that album. Most stated it's the worst Oasis album de-throwing HC as the worst. I think the sound is very similar to DOYS or left off. For me, the first album NGHFB had simple melodies and lyrics. All Oasis hits were simple melodies and lyrics. Most of WBTM? sounds like a car commercial music. I will give it time. CY took a bit for me. NGHFB was instant. Not really. And if anything the melodies and lyrics are even simpler than normal on this album, I get the sense he would normally have rewritten some of them a couple of times if he'd done it at home. |
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Post by Rain on Nov 27, 2017 2:34:22 GMT -5
And if anything the melodies and lyrics are even simpler than normal on this album, I get the sense he would normally have rewritten some of them a couple of times if he'd done it at home. Repeat the line over 10x doesn't make a good lyric and good melody. Noel even used the word Baby. Some of the songs won't age well due to sound  Noel should tour with Robbie Williams. Both pop acts now |
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Post by CFC2013 on Nov 27, 2017 2:53:27 GMT -5
And if anything the melodies and lyrics are even simpler than normal on this album, I get the sense he would normally have rewritten some of them a couple of times if he'd done it at home. Repeat the line over 10x doesn't make a good lyric and good melody. Noel even used the word Baby. Some of the songs won't age well due to sound Noel should tour Robbie Williams. Both pop acts now Sad! |
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Post by spaneli on Nov 27, 2017 2:58:09 GMT -5
And if anything the melodies and lyrics are even simpler than normal on this album, I get the sense he would normally have rewritten some of them a couple of times if he'd done it at home. I don't get that sense at all, especially lyrically. Noel is a fairly lazy lyricist. He retreats to the same imagery and words at nauseum, and has bragged on several occasions that he doesnt think about lyrics too much. In truth, Noel's lyrical inahabitions and propensity to repeat lines, or not edit them in greater detail, existed before this album. Also, the way Noel describes the sessions, it comes off that he had plenty of time to edit. I don't think the songs were ever fixed points in time. |
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Post by revol on Nov 27, 2017 3:06:54 GMT -5
Which is the better David Holmes song: I Heard Wonders or She Taught Me How to Fly? That one. Plus his singing is great, something he doesn't really ever do. I've always thought it's Bobby Gillespie. |
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Post by mystoryisgory on Nov 27, 2017 3:11:17 GMT -5
Well....Noel has finally stepped out of his comfort zone. About fucking time! Because, unlike many of his brethren (read: pale imitators), we've always known that Noel was capable of far more. Take a listen to Setting Sun, Teotihuacan, Let Forever Be, etc. It's always been in his DNA to do something other than the past-reverent rock classicism that we're all too used to hearing from him. Yet he's always kept that part of him locked up in his secret dungeon, only giving it the fleeting glimpse of sunlight. But to his credit, it's not for lack of trying, it's just that every other time he wanted to try something new, it was always marred by an uneasy trepidation, a severe lack of confidence followed by the inevitable desperate scurry to the comfort zone on the next album. Now, armed with a new sense of adventure, and a quintessentially Oasis don't-give-a-fuck-alright attitude, and a producer brave enough to push Noel into new territory, it seems that Noel has finally begun to express that untapped potential. But do the individual songs stand up? Let's find out!! Fort Knox: What better way to kick off a new change in musical direction than something that is as utterly bonkers as this? String loops, hip-hop beats, airplane noises, soul shrieking, and an alarm clock that grinds on your skull to awake you from Noel's lethargic midtempo stupor that he's spent the best part of the last 20 years frozen in. This is not the Noel Gallagher I know. This is what The Prodigy, Kanye West, Primal Scream, Pink Floyd, and an insane midget clown would conceive in a flaming orgy. And it's fucking amazing.
Holy Mountain: It will come as surprise to absolutely nobody that I still think that this song is fucking amazing. So fucking euphoric and stratospheric. One epic rollercoaster of a tune. There are few songs that have had such an impact on me on first listen. This is one of them. It's kinda hard to explain. In any other universe this would have been a number 1 hit worldwide. Except Noel's far past his prime and nobody pays attention anymore. And his management is the most shit of any band I've ever seen in my entire life. It's their fault that Oasis wasn't as big as Nirvana was in the States. Fucking bastards.
Keep on Reaching: This is great fun. Sounds exactly like a 60's Motown hit single. Who knew that Noel had that soul singer voice in him? And those glorious horns, my god! I was initially slightly disappointed that this song was more Marvin Gaye than Sly Stone and didn't have some epic funk groove, but this is so fucking catchy that it's harder to get out of your head than your brain. And that more than makes up for it. Also, can we stop interpreting the lyrics as being about Liam? They have better things to write about, ya know. Interpreting all of your songs through the lens of their feud is missing the forest for the trees. I know Beady’s Here Now is gonna create a shit thread about that within the next few days.
It's a Beautiful World: So sublime and restrained, not a hint of melodrama. It brilliantly treads the line between groovy, beautiful, and ominous like nothing else Noel has ever written. In fact, I'd say that this is by far the best-produced song of the bunch. So sparse and minimal for Noel, especially when you consider that he released the mess that is Be Here Now. Not a single wasted element in the mix. Everything from the frog croaks, and the heavenly sprinkling of chimes. And that chorus! I know that most on here are of the opinion that the verses are far better than the chorus, but I'd bet that people would have a different view if we hadn't already heard the chorus in the previews. I love how it sneaks up on you, after such a low-key and subtle melody in the verses, there's a sudden release of tension when Noel comes in with "it's a beautiful dream, a beautiful night". It's supposed to catch you by surprise, and I think the previews ruined that for many people. It did for me. But I know that when I'm not paying the fullest attention to this song, it'll pounce on my ears and blow my mind. Probably his best solo song.
She Taught Me How to Fly: Ah, what's more glorious than the sound of Noel reconnecting with his Manchester roots? But instead of running to the long-dry well of Smiths and Stone Roses rip-offs, he nicks a few tricks from the playbook of Bernard Sumner! I'm honestly shocked that it took this long for Noel to discover that there's another famous and brilliant band from his hometown that he hadn't stolen from yet. And that chorus, wow! Just as uplifting as Holy Mountain's, but more subtle and clever. I cannot wait dance to this song at the club like some idiot.
Be Careful What You Wish For: I don't understand the hate this song has been getting. It's a low-key, brooding groove with subtle guitar strokes and an awesome layered drum loop. Plus it's brilliantly arranged. Get a load of those weightless keys around the 2:00 mark. And those female backing singers may be his best use of them ever since he discovered that ladies could sing too. What's not to love?
Black & White Sunshine: Sounds like The Smiths collaborating with New Order! Which is pretty funny when you remember how much Morrissey hated dance music. I love this song about as much as the rest, but it feels slightly less inspired than most of what else made it onto the album. Because we've already heard Noel use jangly guitars on a hundred other songs before. But there's no denying that those drums sound absolutely fantastic, and those strings are an arranging masterwork. Which goes to show that, even when David Holmes isn't pushing Noel to try something different, he injects a shot of adrenaline into Noel's more generic songs to catapult them to greater heights. Imagine if this song was as midtempo as The Mexican. Nope, me neither. If David Holmes had produced Chasing Yesterday, I reckon that Ballad of the Mighty I would have sounded something like this. Which is basically a lead-in to my fantasy-world thoughts of how much better Chasing Yesterday would've sounded with Holmes at the helm. Admit it, it would have been a classic with a spice of David.
Interlude (Wednesday Part 1): Ah, peace and quiet on an album full of celebration and hardcore partying. Utterly unlike anything Noel has ever done before. And like the best interludes, it's got ominous undertones to boot. Would be perfect incidental music in a film, and that's where the Holmes influence comes in, I bet.
If Love Is the Law: Are those few seconds of bliss supposed to be the Eno sample that Noel talked about in interviews? Because I can't place what Eno song that might be, and I'm pretty familiar with ol' Brian's catalog. Besides, it would be completely pointless to sample something as only a very short intro when something similar can be easily created in the studio. Probably not a sample. Anyway, the tune's got an awesomely Christmas vibe that recalls that one guy who put a bullet in a poor actress's head. This is probably my least favorite song on Who Built the Moon, probably because the chorus is slightly generic, but the production is top notch, especially that moment right before Johnny Marr's harmonica comes in where the drums suddenly become timpanis and the slight strokes of the cello (?) accompanied by shaking of the bells, all with the guitar delicately picking its way through the mix. It's moments like those that are the reason I listen to music. And of course Marr's harmonica itself is magnificent.
The Man Who Built the Moon: Wow, what a menacing motherfucker! Those pounding drums, frightening strings, ghostly bass, the choir, and even that barely-there acoustic guitar. This is a production triumph from start to finish. Imagine if Stranded on the Wrong Beach even sounded a little like this. Now, imagine if this song was as dreadfully plodding as everything on Noel's debut. The contrast is frightening, isn't it? Goes to prove how production can make or break a song. I've never bought into the "good music can succeed with shit production" mindset of rock classicists. Would When the Levee Breaks be nearly terrifying if it didn't have the swampy guitar and harmonica, and those thunderous drums? Nope. Same goes for this song. This is a particularly good example of how production can launch a song to the moon (heh) because it's in the exact same style as his debut, yet it pisses all over everything from that era because of all of Holmes's subtle touches. And that can be the difference between a good song and a crap one.
End Credits (Wednesday Part 2): And then there's the reprise. This song's pairing with The Man Who Built the Moon in the tracklist represents the most ominous and foreboding moment in Noel's entire discography. Yes, more so than Dig Out Your Soul. I agree that this one is a little too close to its sister in the tracklist. The whole point of a reprise is that it's supposed to make you go "oh, I've heard that before!!" in one of those magical musical moments. Placing the two parts too close together is counterproductive. But that's a minor complaint. What I really wish is that Noel had made the "Dark Side" of Who Built the Moon live up to its name by including something far more sinister, in the vein of the two Wednesday songs and The Man Who Built the Moon. It could've used Be Careful What You Wish For as a brooding introduction, and in place of Black & White Sunshine and If Love Is the Law he should've included something genuinely frightening. Maybe some Penderecki strings and Brötzmann sax? Something with a dirge tempo would've been a great contrast to the joyous Holy Mountain. But I don't know if Noel recorded anything that would've fit my fantasies. Based on that one of the outtakes is named "Daisies", I'm guessing he didn't.
Dead in the Water: And after all that, we get this nice acoustic song. This is a great tune and all, but I cannot understand why people are hailing it as Live Forever part 2. It's brutally honest, and has some of the greatest lyrics Noel ever wrote, and is gorgeous, but it ain't got nuthin' on the best moments of the album proper.
God Help Us All: Well, it wouldn't be a Noel release if it didn't include at least one song that's over a decade old, would it? This, however, is utterly dreadful. It isn't hard to tell why it missed the cut on four albums. Because it's shit. What did the poor fellows of Japan do to have this inflicted on them? And that's Who Built the Moon!! By far Noel's strongest solo album, and by some distance the greatest album either Gallagher has released since Be Here Now. It's absolutely stunning what musicians are capable of when they step outside their comfort zone, even slightly. In fact, I wouldn't call Who Built the Moon a move into left-field, or even a radical departure. Despite my calling some stuff on here having no precedent in his discography, it's simply a logical progression, a simple if stunningly effective refinement of ideas he clearly wanted to express on Chasing Yesterday but seemed afraid to. And yet, I still believe that Noel still has his best solo album in him. If he was able to make such a great album by stepping outside his comfort zone even a little, who knows what surprises he still has up his sleeve? Noel should keep absorbing new ideas and keep constantly evolving. Because, if there's anything to be learned from Who Built the Moon, it's that change is the enemy of irrelevancy. |
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Post by bardes on Nov 27, 2017 3:30:39 GMT -5
My favourite Noel's album! I like almost every song (yes, Holy Mountain too. This shit is catchy). Almost coz I fucking cant stand Be Careful What You Wish For.
1. WBTM?
2. NGHFB (better melodies here)
3. CY
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Post by AdidasNG72 on Nov 27, 2017 3:37:06 GMT -5
I'm curious about your comment that you don't think MOON will age well? What in particular makes you think that? I think it'll sound the best as time goes by. Certainly better than Noel's debut which was kinda Hodgepodge in production. I remembered the hype and high comments of DOYS. Today, there are not many fans can listen to that album. Most stated it's the worst Oasis album de-throwing HC as the worst. I think the sound is very similar to DOYS or left off. For me, the first album NGHFB had simple melodies and lyrics. All Oasis hits were simple melodies and lyrics. Most of WBTM? sounds like a car commercial music. I will give it time. CY took a bit for me. NGHFB was instant. The problem with DOYS was the songs themselves were fairly weak overall (particularly the second half), regardless of the sound production. The songs on WBTM are far, far stronger. |
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Post by Lennon2217 on Nov 27, 2017 5:56:53 GMT -5
My impressions of Who Built The Moon? after 6 days and countless listens over a multitude of formats and mediums..................................
Fort Knox - If you told me this song was a long lost track from the infamous AA sessions I’d believe you. This is the sort of stuff I was expecting/wanting from that collaboration. Sadly we’ve heard very very little from those sessions. One day, one day. No doubt this was designed as a bombastic album opener. I dig the fighter jets being scrambled at the start and the sirens that make it feel sorta like Moby’s “Extreme Ways”. Song really gets going a little past the middle when Noel’s vocals finally enter the fray. I still say some sort of instrument/effect is missing at the 45 second mark that should have built on that epic beginning.
Holy Mountain - Oh the divisive first single! This made so much noise on the forum and I was actually surprised by that. For me it’s sorta like “Roll With It”. Just a fun throw away single. It has the feeling of a high school marching band during a Friday night pep rally for the football team. Lots of energy. Lots of fun. Lots of dancing. Being the first introduction to the new tag team duo of Gallagher/Holmes I was expecting a more electronic pulsating type song.. Sorta like David Holmes own song called “Holy Pictures”. That was probably just my imagination getting the better of me. I dream big folks. Real big.
Keep On Reaching - This song belongs in a Guy Ritchie film. Something like “Lock, Stock and Two Smoking Barrels”. Also has a strong early 90s Paul Weller Motown vibe going on. Very different approach for Noel. I’ve had the “can you keep a secret?” line stuck in my head for days now. High energy for sure. Curious to hear it live. Hopefully the Birds play it.
It’s A Beautiful World - Loads of hype attached itself to this song beginning in the early summer when rumors were circulating on the forum by trusted ears that Noel was adopting a U2 “Discotheque” feel to this tune. I personally love that U2 song so that excited me plenty. Granted I knew very well that Noel would not take it down a completely disco road like Bono and the boys went with it. It’s definitely an album highlight for sure. Love that chorus. One of his best post Oasis ones for sure. The bass line, drums and guitar lick are fantastic. The cinematic landscape created by Holmes on this track is incredible. I wish I could hear the original sample they couldn’t clear for the middle French section. Not sure it’s ever going to be a big single. The release strategy for the song was a bit clunky, weird and delayed perhaps. Either way I’m happy this song exists in Noel’s discography.
She Taught Me How To Fly - When the “Who Built The Moon?” trailer dropped this was an immediate highlight for me. Noel’s New Order song.. Reminds me of something off “Technique”. Love the fast driving pace of the song. Noel finally breaks free of his usually mid tempo rock. Nice to see Noel go all meta on us and reference his older material. Somehow the phrase ‘Put Your Money Where Your Mouth Is’ works better here than it did on “Standing On The Shoulder Of Giants”.. I’d like to see Holmes and Noel explore more sonic territories like this in the future. Looking forward to catching this one live at Radio City Music Hall come February.
Be Careful What You Wish For - This one just crawled out of the swamp! Is that Noel saying “chicken paw” at the start? Totally Bonkers if so! A lot of people say the guitar line sounds like The Beatles “Come Together”. For me it sounds like the guitar guitar, bass and drumbeat from Radiohead’s “A Punch Up At A Wedding”. A very underrated song from “Hail To The Thief”. That guitar line also has hints of a slowed down version of “Give It Away” by the Red Hot Chili Peppers. It’s amazing that the guy who wrote “Supersonic” twenty plus years ago could also craft this baby. A song like this could have easily worked on “Dig Out Your Soul”. Preferably in place of High Horse. It totally has that groove vibe Noel was describing while promoting DOYS in 2008. Glad he could finally harness the sounds in his head for that for this project. Dark, dirty and swampy.
Black & White Sunshine - I’m actually really surprised a song like this found a spot on the album. This easily could have been on Chasing Yesterday. Sounds similar to tunes like “Lock All The Doors” and “You Know We Can’t Go Back”. It even sounds like the start of “Do The Damage” and “In The Heat of The Moment”. I figured Holmes would quickly reject a song like this. It’s too Noel. Not that that is a bad thing but they had definitive rules for this project and to me this clearly breaks them. Early reviews described the song as a mid 60s psychedelic rock gem. I guess in my own head I dreamed of Noel crafting his very own “Citadel” by The Rolling Stones. I really am surprised a song like this made the cut with 3 other finished song left on the David Holmes bench. More curious to hear those than “Chasing Yesterday” inspired Tracks. Cool title though.
Interlude (Wednesday Part 1) - First thing that springs to mind on this instrumental is the album “Rome” by Danger Mouse. An obvious homage to the spaghetti western genre. I almost expected someone to begin rapping on it like it’s some sort of Gorillaz b-side. Like Noel said to John Kennedy on Radio X, this track should have been moved up on the album right behind “She Taught Me How To Fly”. That would have broken up the album more than have two instrumentals so close to one another as the album begins to draw to a finish.
If Love Is The Law - This is Noel’s Mumford & Sons song. When the track first kicked off I got strong “NeverEnding Story” vibes but that fades fast. This might be the happiest, fun and bouncy song Noel has made in over twenty years. I adore all the little elements of this song. Tremendous harmonica work by Johnny Marr. Sounds like a runaway train heading down the railway. Shades of Bruce Springsteen here. Really hope Noel plays this on the upcoming tour. I’d assume Gem handles the mouth organ.
The Man Who Built The Moon - Easily one of the best songs Noel has written as a solo artist.. Top 5 for sure. It sounds cliche saying it sounds like a James Bond theme but you know what? It fucking does! The David Holmes production really pays off on a tune like this. An absolute beast of sonic textures. A grunge intro for sure. Very heavy. Cool lyrics, strings and choir. I love how Noel found inspiration from the film “Hateful Eight”. Noel needed a song like this to finish off “Dig Out Your Soul”. Would have worked perfectly. Oh well. It helps close out this album in grand fashion. Its epic but it doesn't over stay its welcome either. Finished at the 4:30 mark. Again, he better play this live. It’s a treasure. Please make more of this Noel and David. I beg of you.
End Credits (Wednesday Part 2) - Pretty much what I said earlier about Part 1.. It sounds like Danger Mouse and Gorillaz scoring a spaghetti western in an alternate reality. I’m fully expecting someone on this forum to edit the two parts together like how Noel said it originally was. Maybe if Noel releases an EP from this project it’ll feature that along with Fort Knox with lyrics as well other bits and bobs. Who knows.
Bonus Tracks..............
Dead In The Water - A stunning acoustic beauty. These are the types of songs we all associate with Noel. A man and his acoustic guitar. Like early Bob Dylan. I think Noel included this as a “bonus” track as a magical silver bullet in case the album got slagged off he could always have this to fall back on and keep morale high. I’m torn on the idea of Noel eventually recording a studio version of this. I wouldn’t want him to botch it like “If I Had A Gun” and “The Dying of The Light”. I think he could nail it and be his later life “Masterplan”. It’s a roll of the dice for sure. Radiohead was able to pull it off with “True Love Waits”. The live acoustic version was the standard for almost two decades. They eventually nailed the studio recording for “A Moon Shaped Pool”. Either way it’s a great song.
God Help Us All - This has been floating around since at least the “Don’t Believe The Truth” days. Could have easily been a b-side during that era or pop up as one for Noel’s debut. I’m glad Noel got this song out of his system now. I don’t want this type of music appearing later on. I want Noel to keep pushing forward. No more songs that’s are 10-15 years old. Some people were surprised how spare this recording is. Like it’s a demo or something. That’s probably the best incarnation of the tune to be honest. It’s nothing special and the songs simplistic nature is best left at that. Happy to have it in my collection but thrilled it’s not on a proper album. Onwards.
Overall.......................
I’ve been begging for Noel to work with an electronic modern type producer since the end of 2002.. Heathen Chemistry convinced me that Oasis and Noel were done with that certain type of sound and needed to expand or die. Noel’s teased us over the years with Death In Vegas and The Amorphous Androgynous but he always retreated back to Noel Rock in the end for various reasons. Finally in 2017 my dream comes true. I was beyond excited to learn that David Holmes and Noel would hook up to create an album together. I’ve long respected his work for film scores and his own LPs. This seemed like a marriage that could work till the end. Glad to say I’m more than thrilled with the results.
I still think the album probably needs another 1-2 tracks to fill it out more. Those instrumentals are too stacked on the back end of the album. That shouldn’t have been allowed to stay like that. I've taken Noel's advice and moved "Interlude (Wednesday Part 1") to after "She Taught Me How To Fly". The two halves flow much much better. Can’t wait to hear this song that Holmes loved that Noel says is missing something but calls Noel a lunatic for leaving it off the final LP. Hopefully Noel and Holmes will continue their partnership for at least one more album. For once Noel finally sounds happy, modern and inspired. I hope this phase lasts several more years. There are so many more sonic palettes for Gallagher/Holmes to explore together. This could be the start of a marvelous musical adventure not only for Noel but for us fans as well..
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Post by eva on Nov 27, 2017 6:06:40 GMT -5
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Post by Lennon2217 on Nov 27, 2017 6:10:33 GMT -5
I don't know. I'm not really a final score type guy. I don't wanna label something. I boil it down to the essential. Do I like it? Will I listen to it later on down the road? Both Gallaghers knocked it out of the park for me in 2017. I'll revisit often. Thats good enough for me. On the flip side, Theodore Donald "Donny" Kerabatsos gave it a 10. |
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Post by Diamond in The Dark on Nov 27, 2017 6:17:42 GMT -5
For me:
Fort Knox – 4
Holy Mountain – 1
Keep on Reaching – 8
It's a Beautiful World – 7
She Taught Me How to Fly – 5
Be Careful What You Wish For – 7
Black & White Sunshine – 7
Interlude (Wednesday Pt. 1) – 5
If Love Is the Law – 5
The Man Who Built the moon – 8,5
End Credits (Wednesday Pt. 2) – 5
Extra:
Dead in the Water – 8
God Help Us All - 6
Who built the moon? is a very "oscillating" album with many "empty hits". But some songs are good...
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Post by funhouse on Nov 27, 2017 8:04:56 GMT -5
[/b]Sounds like The Smiths collaborating with New Order! Which is pretty funny when you remember how much Morrissey hated dance music. [/quote] Edit: This quoting stuff can be tricky sometimes... |
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Nov 4, 2024 5:04:30 GMT -5
Nov 4, 2024 5:04:30 GMT -5