Ramblings of a Misguided Soul: 2011

After being awarded the honour of having my name and one of my quotes printed worldwide on the first page of the booklet of Oasis' final compilation album, "Time Flies: 1994-2009" (have a look yourself in any record shop), I believed I had heard the end of all things Gallagher. How wrong I was.

Being a die-hard Oasis fan, I was quite cynical about the absence of The Chief from this new band, in the form of Beady Eye.

Liam (Gallagher) has proven to be a disastrous songwriter over the years, with brief moments of redemption like “I’m Outta Time” and “Boy With The Blues” putting him on par with his estranged brother.

Gem (Archer) showed diversity, with efforts like the stripped down rock n roll of “Eyeball Tickler” and the Indian influenced groove of “To Be Where There’s Life”, but there was always something missing.

Andy (Bell), on the other hand, was always the dark horse, never really being given the chance to show his potential.

The amalgamation of these three musicians without Noel’s influence has surprisingly proven to be the best thing that could have happened. Now Noel can produce his classics in his own time, with no conflicting personalities, whereas Liam and his unsung heroes can act of their own accord under the Beady Eye moniker.

Below is a track by track review of the album in its entirety:

1. Four Letter Word (Bell)

A heavy, bold, and powerful start. This track alone is a firm statement that this band is not Oasis under a different name. The bombastic intro paves the way for Liam’s imminent croon which has defined him over the years. Powerful drum patterns interweaving with pounding bass, dark guitar progressions, and a memorable string ritornello collectively provide the perfect backdrop for Liam’s venom induced “Nothing ever lasts forever!” This is a new direction for the lads, and a promising start.

2. Millionaire (Bell)

A catchy slide-guitar passage over acoustic chords provides a pleasing relief from the post-apocalyptic Four Letter Word. This is an upbeat little number about the beautiful Spanish journey from Cadaqués to Figueres, birthplace of the renowned Spanish Catalan surrealist painter, Salvador Dalí. There is no outstanding feature in this track, but it is refreshing all the same. More appreciation can be gained with repeated listens.

3. The Roller (Archer)

In drawing obvious influence from Instant Karma by Lennon, this may be the first object of criticism in the album. However, it is a solid track, and harks back to famous Oasis ballads, which need no introduction. The first official single, it was a strange choice, causing many people to dismiss it as "just another Oasis rip-off". Ironically peaking at 31 in the charts (the same peak position Oasis' debut single, Supersonic, reached...and look where that got them!), it doesn't promise much to the casual listener. The piano really makes this song for me, but it drags on a bit too much in the end.

4. Beatles and Stones (Gallagher)

This is the first real stripped back rock n roll track on the album. Lyrically average to say the least, Liam declares that he will “Stand the test of time like Beatles and Stones.” As the youth of today might put it, an "instant cringe factor". The influence of The Who permeates this song, and similarities may be drawn to My Generation, the timeless classic. For me, this track improves as it goes on, with the outro being the highlight. The bass drives this song, but it ends all too abruptly. This is my least favourite song on the album.

5. Wind Up Dream (Archer)

The intro alone makes me want to get up and make an impact on the world. One of the highlights of the album for me. This is something we have never heard from Liam and co. before. Drawing influence from 70s western American rock, it is a breath of fresh air. Shades of Gimme Shelter by The Rolling Stones are evident in places. Gem’s harmonica passages are a surprising, but pleasing addition. Liam’s “Ah ah ah” elevates the song and reminds me of a Native American wardance, adding to the American influence. Altogether a great song. With these first five tracks, we can see the diversity of Beady Eye, with no two being too similar in style.

6. Bring The Light (Gallagher)

Needless to say, very Jerry Lee Lewis inspired staccato piano passages energise this track, along with Chris’s snare playing. An arrogant statement of having a good time, it is hugely successful in its purpose of making you want to get on your feet. The addition of female backing vocalists is shocking, but really adds to the track. Musically, this track is nothing special or revolutionary, but it is a statement of intent, and it greatly succeeds in that. It is in live performance that this song will be made or broken.

7. For Anyone (Gallagher)

A gentle swan song accompanied by broken acoustic chords, this is a relaxing interlude, which for me, signifies the end of the first half of the album. A very light-hearted number, with a clap-along rhythm. It reminds me of Rockin' Chair by Oasis, not in its melody, but in its deliverance and overall impression. However, it failed to make a lasting impression on me personally, and I avoid it where possible.

8. Kill For A Dream (Bell)

Lyrically, this song is a masterpiece, and along with The Beat Goes On, it stands above everything else on the album. At marching pace, it is the kind of song that creates an emotional connection with the listener. The outro speaks for itself, no words are required to describe it. The female vocalists really add a haunting effect. It is hugely thought-provoking, and one of the best songs on the album. This is where the psychadelia of the second half of the album begins.

9. Standing On The Edge Of The Noise (Archer)

Steve Lillywhite's production of this track may be drawn into question. Liam’s vocals are so muffled and lost amongst the clamour that the lyrics are impossible to decipher at times. The volume levels seem horrifically wrong. However, according to Gem, this was intentional, as the purpose of the song is to demonstrate to the fans how, in live performances, Liam is sandwiched between two elements of noise; the band and the crowd. This stack-heeled glam rock attack harks back to Heavy Stereo’s Chinese Burn, another Gem penned track.

10. Wigwam (Gallagher)

In my opinion, this is Liam’s best song written to date. The lyrics speak of having enough of the misdemeanors of life, and Liam’s “Sha la la”-ing evokes a feeling of lost confidence. However, it is the extended outro (lasting longer than the main body of the song) which makes it stand out from the rest of the album. The drum build up promises something we’ve never heard before, and that promise is delivered in its entirety. This provides the perfect climax to the song, and you really get the feeling of mentally rising up to a special place, as Liam declares “I’m coming up!”. We have never heard Liam sing like this before, the falsetto is fantastic. This track has a cathartic effect on the listener, every single emotion comes to the fore. My favourite track on the album, along with Three Ring Circus.

11. Three Ring Circus (Archer)

The bluesy, classic rock n roll chord progressions in this track prove Gem’s prowess in songwriting. The trebley guitar and driving bass power this time capsule along. The question and answer motif between Liam and the guitar works wonders in the verses. The chorus is a work of genius, with the interweaving repetitions of “In this three ring circus going round” encapsulating word-painting at its finest, and having a telescopic effect on the mind. The guitar solo succeeds in adding more meat to the already bloodsoaked beast that is Three Ring Circus. This will be a hugely powerful live song, and is my favourite on the album along with Wigwam.

12. The Beat Goes On (Bell)

For me, with this song, the lads have finally captured the spirit of The Beatles, in a gallant attempt. This is close to musical perfection. There will be tears in concert when this is heard, without a doubt. This will be the equivalent of Oasis’ Don’t Look Back In Anger, in that it will be a unique, spiritual experience live, as the chorus is echoed among thousands of fans. The chorus enraptures the listener, and elevates the song onto an untouchable pedestal of emotion. This and Wigwam are two hugely emotive songs.

13. The Morning Son (Gallagher)

Is he singing about his relationship with Noel? The influence of Lennon? His maturity as a songwriter? These are the questions we ask ourselves when listening to this track. Even without the definite answers to these questions, this watery-sounding tune offers us an uncharacteristically deep insight into Liam’s thoughts. The outro is a psychadelic, kaleidoscopic eclipse of sound, as the band make order out of chaos. This is the perfect ending to the album, the likes of which we have not seen since Champagne Supernova.

What a journey. I was left gagging for more after listening to this. Two worthy mentions are Chris Sharrock and Steve Lillywhite. Sharrock's drumming style greatly contributes to the musical prowess of the album, whereas Lillywhite's crystal clear production gives the album a crisp lasting appeal. Andy Bell has emerged as the most consistently solid songwriter, and to a large extent, the band rests on his shoulders. There are a few minor hiccups in the album, but overall, it is the strongest debut I have heard for years. Liam, Gem and Andy are an unconquerable songwriting democracy, and we can expect an abundance of classics from them in the coming years.

Ramblings of a Misguided Soul

Sunday 27 February 2011

Beady Eye Zane Lowe Radio 1 Live Session (23 February 2011)

Tuesday 22 February 2011

Beady Eye KEXP Live Session (22 February 2011)

Sunday 20 February 2011

"Different Gear, Still Speeding" Album Review (Beady Eye)