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Post by GlastoEls on Oct 23, 2019 3:44:07 GMT -5
The Right Stuff is, imho, THAT good!
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Post by andymorris on Oct 23, 2019 4:37:47 GMT -5
The Right Stuff is, imho, THAT good! I like it, but i dont rate it that high tbh. It's the highlight of CY though.
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Post by bt95 on Oct 23, 2019 5:57:43 GMT -5
"If you’re an A&R guy, why are you going to take a punt on five kids from a council estate, who are all on drugs, who might eventually fucking write Cigarettes & Alcohol, when you’ve got this guy who’s just gagging to be in the music business? Some fucking post-Ed Sheeran dude with an acoustic guitar that you can see at any open mic night, singing songs about his dog leaving him, or his bird, or his fucking pigeon having a cough. And it gets a million hits on YouTube because he’s wearing odd socks. Are you going to take a risk on this band that might change the world? You’ve got your numbers to fucking make up mate, you’re going to take the easy way out."
Such a good quote.
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Post by Flashbax on Oct 23, 2019 6:54:08 GMT -5
I use the mossy’s ears test. Listen to The Right Stuff. Does it sound like anything Noel had recorded before then? My answer: nope. Could it fit on any previous Noel or Oasis album? My answer: no. Does it sound like The Amorphous Androgynous? My answer: yep. Could it fit on one of the AA’s albums? Me: hell yeah! Ergo, I conclude it’s fair to take the AA at their word and assume in all probability the AA had a hand in writing it. X I had in mind more NGHFB 1 really. I believe the AA asked for songwriting credits on those songs, and for those i say fuck no. Also Mossy ear test can fail : Listen to Falling down / Mucky Fingers / TIOBI / Fade in Out / Teotihuacan / Who Feels Love... Does it sound like anything Noel had recorded before then? My answer: nope. Could it fit on any previous Noel or Oasis album? My answer: no. New sounding is not a proof that it's not Noel's. I'm just saying : i find it had to believe they indeed wrote anything that can considered songwriting. There's a grey area for both CY songs, and as you said, none of us where in the studio. So we dont really know. But if they did indeed wrote the songs, they should have had credit. but... the quote is from the guardien : "we came up with two new backing tracks for The Right Stuff and The Mexican to justify it being “like Pink Floyd”, the two songs that ended up on Chasing Yesterday. We spent six months on them. Now people are citing The Right Stuff as one of the best things he has done, and proof of how good he can be when he explores". another quote: "Having said that, if you go and listen to 'The Right Stuff' on his new record, people are claiming that it's the one track that is really outside of his comfort zone. And do you know why? 'Cause we did all the backing on it." Where do they claim they wrote something ? To me it sounds like they just... added the atmosphere to songs brought by Noel, backing tracks are just backing tracks, they are not songwriting. They are producing and playing parts, like Gem adds a solo, a guitar line, a drummer adds his part or a pianist adds a great piano line to a song... etc. I'd say the AA got too excited about it all and took Setting Sun and Let Forever Be as reference for their project. Those songs are co-credited to the Chem Bros, and Noel probably let some songwriting credits go because it was on a Chem Bros album and not on his own name to launch a solo career. but we know those songs were written entirely by Noel beforehand. To me it's a cultural thing and a misunderstanding from the start of what the project was. Noel has a traditionnal view where the guy who wrote the melody gets all the credits. those guys come from somewhere where producers and writers are kinda the same thing. They got producing credits entirely for both CY songs, and to me, this is more than fair. It's already big in my book. It should be on theirs. cheers Moss ! + The Mexican is shit and the Right stuff is not THAT good I think it's only fair that The Chemical Brothers got a songwriter credit for Setting Sun. Comin' On Strong and Setting Sun are two completely different songs.
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Post by andymorris on Oct 23, 2019 7:06:15 GMT -5
I think it's only fair that The Chemical Brothers got a songwriter credit for Setting Sun. Comin' On Strong and Setting Sun are two completely different songs. I have not heard both for a very long time but from memory they're the exact same melody. and songwriting credits are legally based mostly on melody (and lyrics). It's reworked with a different tempo and sung the 90s way instead of Liam's late 80s style vocals, but other than that, same tune.
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Post by mossy on Oct 23, 2019 8:29:08 GMT -5
I use the mossy’s ears test. Listen to The Right Stuff. Does it sound like anything Noel had recorded before then? My answer: nope. Could it fit on any previous Noel or Oasis album? My answer: no. Does it sound like The Amorphous Androgynous? My answer: yep. Could it fit on one of the AA’s albums? Me: hell yeah! Ergo, I conclude it’s fair to take the AA at their word and assume in all probability the AA had a hand in writing it. X I had in mind more NGHFB 1 really. Well that’s changing the goal posts of the discussion. I’m not talking about HFB1, I’m talking specifically about TRS and TM. I imagine that’s what thomaslivesforever was referring to as well. If you have a reference for this happy to discuss it, but I don’t think that’s the case. I never said it was stone cold “proof”. Just another thing that adds to the balance of probabilities. I actually said we don’t know for sure. But given Noel has lied a lot about this project (“I destroyed the masters”, “I found them again in my sock drawer”), his word isn’t gospel. We can only look at the evidence before us and decide which way we personally lean towards. Until I’m given more evidence, I believe the AA had a significant hand in writing TRS. Enough for a credit. Other artists may have given a credit, but not The Chief. They certainly think they wrote enough to justify a writing credit. It was in a Facebook post. Will try to dig it out later. They said the reason their project to remix the CY album got cancelled was because they realised TRS and TM were going on the album and they asked about their writing credits. Or because The Chems actually had a lot to do with writing the music!! Yup, Gaz said exactly this himself. Well they disagree and so do I. That’s, just, like, my opinion man. It’s mossy and don’t you forget it ;-P X
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Post by Deleted on Oct 23, 2019 9:09:02 GMT -5
Best interview in a long time. The Hot Wings video was terrific. True! That video actually introduced me to that show, and now I can’t get enough.
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Post by andymorris on Oct 23, 2019 9:32:52 GMT -5
Fair enough Moss(y) Just on the HFB1 matter, if i remember correctly it's Noel who said in an interview years ago that they asked for songwriting credits for this particular project, and that's where the falling off began. I'll have to find that, since it really got stuck in my head when i read it and thought about Shoot A Hole Into The Sun as the only example of their collab on this project. The only reference i can find so far is this musicfeeds.com.au/features/amorphous-androgynous-gaz-cobain-talks-working-with-noel-gallagher-paul-weller-ian-astbury-more/Gaz says: "Go and listen to The Right Stuff and Shoot a Hole Into The Sun, both co-written and produced with us"... that's pretty clear to me. Since the right stutff and Mexican are from the same "sessions", Noel was probably thinking they asked to be co-writer on the whole project and it looks like they did. Shoot A Hole Into The Sun is the clear example that the AA project was some kind of a "remix project" (that had no first version) and Noel recorded his songs on the side in a more traditionnal way (before of after the falling out, but that's not important). Noel came with tunes, and they produced / created a backing track. That's not songwriting to me. On this whole writing music part, it's tricky. I mean, in a band, every band member basically write their own part, in Oasis, Gem came up with or made the solos from the Noel's demos better, the drummers invented their drum part, Andy made some pretty cool bass lines, you name it. They are paid for that, the music business works like that and everyone seems to agree. But if we were to follow what the AA (allegedly) wanted, all the Oasis songs should be credited Gallagher / Gallagher / Archer / Bell / the drummer of said album and every remixer Noel has worked with should be co-credited as a songwriter since they completely re-do the backing track. I dont think this is right. A producing credit justify more than enough the "creating" music part. Maybe it should be renamed to artistic director or something, as producer sound like the fat guy who brings the money, when in reality, at least for me, a producer make 50% of the work on a record. IMHO, you can ask for songwriting credits only if you alter the melody so much, add a bridge or a chorus, that it changes the song entirely. A bit like something Liam does with his army. Back to you !
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Post by mossy on Oct 23, 2019 11:10:34 GMT -5
The AA were actually given writing credits for Shoot A Hole Into The Sun. So it’s not simply a remix. Not a stretch to see why they thought they should get credits on other tracks if they did similar work on them. X
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Post by bt95 on Oct 23, 2019 11:45:49 GMT -5
Maybe it wasn't the AA he was referring to?
He did say 'producer' not 'producers'. I know, it looks likely it is AA, but it could well be Spike Stent could it not?
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Post by Manualex on Oct 23, 2019 11:48:16 GMT -5
What are the credits on the Everybody's on the Run single for the AKA What a Life remix mossy ?
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Post by mossy on Oct 23, 2019 11:53:45 GMT -5
Maybe it wasn't the AA he was referring to? He did say 'producer' not 'producers'. I know, it looks likely it is AA, but it could well be Spike Stent could it not? Or he meant Gary Cobain because Brian is a mute!! I’ve seen people reference this Noel quote a few times but have never seen the source interview myself. Do you have it? X
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Post by mossy on Oct 23, 2019 11:57:49 GMT -5
What are the credits on the Everybody's on the Run single for the AKA What a Life remix mossy ? No writing credit. It says “Additional production/sampling/programming/collaging/processing by The Amorphous Androgynous.” X
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Post by bt95 on Oct 23, 2019 17:34:04 GMT -5
Maybe it wasn't the AA he was referring to? He did say 'producer' not 'producers'. I know, it looks likely it is AA, but it could well be Spike Stent could it not? Or he meant Gary Cobain because Brian is a mute!! I’ve seen people reference this Noel quote a few times but have never seen the source interview myself. Do you have it? X It's in the interview that this thread is about is it not, haha? Erm, first post...
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Post by andymorris on Oct 24, 2019 1:15:06 GMT -5
The AA were actually given writing credits for Shoot A Hole Into The Sun. So it’s not simply a remix. Not a stretch to see why they thought they should get credits on other tracks if they did similar work on them. X This is weird. Why would Noel give writing credits for this and not the two other tracks ? Something is simply not right in all this. There is no logic. Maybe simply a money issue ? I suppose it's easier to give credits on a bside than on a whole comeback record.
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Post by mossy on Oct 24, 2019 1:34:27 GMT -5
Or he meant Gary Cobain because Brian is a mute!! I’ve seen people reference this Noel quote a few times but have never seen the source interview myself. Do you have it? X It's in the interview that this thread is about is it not, haha? Erm, first post... Oh right. Sorry, I meant the interview from years back when the AA album got cancelled and Noel supposedly complained about producers wanting writing credits. I’ve seen people mention it a few times on here but have never seen the source interview itself. That was more explicitly about the AA. In this instance it sounds very much like he’s talking about Gaz though. Vibes! X
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Post by bt95 on Oct 24, 2019 3:17:40 GMT -5
It's in the interview that this thread is about is it not, haha? Erm, first post... Oh right. Sorry, I meant the interview from years back when the AA album got cancelled and Noel supposedly complained about producers wanting writing credits. I’ve seen people mention it a few times on here but have never seen the source interview itself. That was more explicitly about the AA. In this instance it sounds very much like he’s talking about Gaz though. Vibes! X Ah my bad matey! I'm not sure tbh, never seen that either.
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Post by andymorris on Oct 24, 2019 4:16:08 GMT -5
This interview exist, i will hunt it until i find it in the meantime, here is another quote from Noel , comparing the AA and Holmes sessions "GALLAGHER: No. The thing with the Amorphous thing was…when you read things about this record, the word “psychedelic” pops up. I think the Amorphous one didn’t have as good of songs, and it was a bit too psychedelic for its own good. I had already written the songs for the Amorphous thing and they were psychedelicizing the songs. Whereas this was being written in the studio, the songs are being born out of this thing. That’s the main difference. But, if I was to work with Amorphous again, I’d take this process and do it with them. I think that’s what they would’ve preferred to do. So the reason that didn’t work out, I’d say, was possibly 60-70 percent my fault." www.stereogum.com/1971921/noel-gallagher-has-a-new-album-so-we-talked-to-him-about-taylor-swift-morrissey-and-his-latest-beef-with-liam/franchises/interview/Other interesting quote "The album you were going to make with Amorphous Androgynous – the psychedelic alias of Future Sounds Of London – isn't happening now, which is a shame, because it promised a lot. Do you regret that? NG: No. I don't regret meeting them and being fans of theirs, because they've turned me on to so much fucking great music. 'The Right Stuff' would never have been written without those guys. If I regret anything, it's spending the fucking 150 grand it cost me to record it and it's sitting there in the dustbin. Would you put it out at some point? NG: No – it's just not good enough. It's simple as that. I took one track and finished it off, which ended up as a B-side called 'Shoot A Hole Into The Sun', which was fucking great, I loved it. But I'm not that much of a vagina that I would take somebody's fucking work that they did, and then say, "Thank you very much, I'm now going to go and finish it off". I paid for it, they delivered it, and I said, "Well, thank you very much, but that's not good enough, because that has to be better than that album there". thequietus.com/articles/17242-noel-gallagher-high-flying-birds-interviewthis pretty much sums up Noel's view of who should get credits for what... and the legal details of it all.
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Post by mossy on Oct 24, 2019 11:36:00 GMT -5
This interview exist, i will hunt it until i find it Thanks, interested to see it. Um, The Real People having to sue for their credits proves otherwise. X
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Post by mossy on Oct 24, 2019 14:03:44 GMT -5
That Blue Moon Rising title has been bugging me and I just realised where I’ve heard it before. Noel you little tinker! X
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Post by spaneli on Oct 24, 2019 14:36:00 GMT -5
This interview exist, i will hunt it until i find it Thanks, interested to see it. Um, The Real People having to sue for their credits proves otherwise. X Other than the Real People has Noel ever stolen anyone's work? And I don't mean copyright suits. Noel's always pilphered influences from other artists, not unlike how artists of previous generations did, but actually took work from people he personally knew.
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Post by Jim on Oct 24, 2019 14:52:54 GMT -5
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Post by andymorris on Oct 25, 2019 1:29:25 GMT -5
Thanks, interested to see it. Um, The Real People having to sue for their credits proves otherwise. X Other than the Real People has Noel ever stolen anyone's work? And I don't mean copyright suits. Noel's always pilphered influences from other artists, not unlike how artists of previous generations did, but actually took work from people he personally knew. The Real People matter is another story altogether. Apparently they were all writing together in the same room all the time weren't they ? The dont go Away one is shocking i gotta say, but who knows where it emerged first.
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Post by andymorris on Oct 25, 2019 1:30:38 GMT -5
This interview exist, i will hunt it until i find it Thanks, interested to see it. I think it was an audio or video interview, between 2015 and 2017. Probably why there is no written article about it. But it does exist.
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Post by mossy on Oct 25, 2019 2:15:38 GMT -5
Here’s the Facebook post from Gaz which makes me lean towards thinking the AA should have been credited for TM and TRS. If you believe what he says, the situation sounds pretty similar to what happened to The Real People. “Live4Ever oasis board members : We wrote the backing tracks for the Mexican / the right stuff - entirely our doing / initiative Neither tracks would exist without this work In the case of the Mexican we composed a backing track of guitar / beats / bass conducted a honky tonk piano session , added a harmonica stab ( great sound ) ... it's a hit backing , totally vibey , melodically formed and structured . ITS not like you could just play any old rubbish on top , was quite pre determined by the backing , tempo , tuning , vibe , riffs predetermined or heavily insinuated . Once he finally came to the table Me ' if you can't hear that's fucking great then I give up ' Him ' if you want me to write a song then I'm the fucking best then I'll do it ' A month later via text ' have you written a new song for my backing ' ' no , I'll just do what you want Gaz in the studio next week ' Eureka ! Next studio session we laid down guitar / bass and vocal pretty quickly . Everyone was buzzing , not least of all Noel . I suggested lyrics , sang bits too ( the counterpoint na na na that DID make it onto the turgid version you hear on CY ) The same week he worked on lyrics for the Right Stuff too The backing track for THE RIGHT STUFF had been done months before & was relatively quick in comparison but totally smoking moody space jazz ( it's where those adjectives came from he often used to describe an element of the album ) Again totally our origination , already brilliant and melodic . At the end of the week having laid down vocals and the Mexican guitars / bass which were straightforward and quick hooking straight into the tempo / groove and implied riff he says ( rubbing his hands ) ' not a bad week , written two new tracks , I'm fookin ' great ' I looked into his eyes for a trace of irony knowing how hard we'd worked behind the scenes to plot & write these backing tracks & to bring this factor X and new songs to his album but I saw not a glimmer but was simply happy to see him buzzing , it was the happiest I saw him in the studio , from fearful to expansive and joyful “ Read more: live4ever.proboards.com/thread/80802/nme-amorphous-androgynous-hit-back?q=Stuff&page=2#ixzz63LbQjsLYX
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