Here's another review. Using Italian words, you know they're all Italian words about music when you read music on the staff: as allegro, allegretto, etc. (Milan's manager Allegri :), that means "happy". That's what Beady Eye songs are, they're happy. Oasis songs were often a bit sad, also some happy ones had some sad meaning behind.
And, obviously, in this new band there's no more fighting between the two main characters, that was one of the main Oasis characteristics. So it's all happier.
Being a die-hard Oasis fan myself, I was quite cynical about the absence of The Chief from this new project, in the form of Beady Eye.
Liam 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 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, 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 do their own thing 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 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. An upbeat little number, there is no outstanding feature, but it is refreshing all the same.
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 good choice. The piano really makes this song for me.
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.” 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. 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.
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 Rocking 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 stands above everything else on the album. At marching pace, it is the kind of song 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.
9. Standing On The Edge Of The Noise (Archer)
Regardless of whether it was intentional or not, Steve Lillywhite over/underproduced this track (whichever way you want to look at it). Liam’s vocals are so muffled and lost amongst the clamour that the lyrics are impossible to decipher at times. The volume levels are all wrong in this, and it’s a pity, because it has the potential to be a top class, stack-heeled glam rock attack. Hopefully it will be sorted out in the live shows, as it harks back to Heavy Stereo’s Chinese Burn, another Gem penned track. There’s a tune in there somewhere, it’s just lost in the terrible production.
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 second half of this 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 rising up, as Liam declares “I’m coming up!”. We have never heard Liam sing like this before, the falsetto is fantastic, and if he can pull this off live, there will be tears of empathy in the audience. This track has a cathartic effect on the listener, every single emotion comes to the fore. My favourite track on the album, along with The Beat Goes On.
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 kaleidoscopic 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.
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 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. As previously mentioned, this is my favourite track along with Wigwam.
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 the perfect ending to the album, the likes of which we have not seen since Champagne Supernova.
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 we have seen for years. Liam, Gem and Andy are an unconquerable songwriting team, and we can expect an abundance of classics from them in the coming years.
And, obviously, in this new band there's no more fighting between the two main characters, that was one of the main Oasis characteristics. So it's all happier.
Being a die-hard Oasis fan myself, I was quite cynical about the absence of The Chief from this new project, in the form of Beady Eye.
Liam 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 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, 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 do their own thing 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 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. An upbeat little number, there is no outstanding feature, but it is refreshing all the same.
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 good choice. The piano really makes this song for me.
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.” 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. 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.
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 Rocking 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 stands above everything else on the album. At marching pace, it is the kind of song 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.
9. Standing On The Edge Of The Noise (Archer)
Regardless of whether it was intentional or not, Steve Lillywhite over/underproduced this track (whichever way you want to look at it). Liam’s vocals are so muffled and lost amongst the clamour that the lyrics are impossible to decipher at times. The volume levels are all wrong in this, and it’s a pity, because it has the potential to be a top class, stack-heeled glam rock attack. Hopefully it will be sorted out in the live shows, as it harks back to Heavy Stereo’s Chinese Burn, another Gem penned track. There’s a tune in there somewhere, it’s just lost in the terrible production.
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 second half of this 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 rising up, as Liam declares “I’m coming up!”. We have never heard Liam sing like this before, the falsetto is fantastic, and if he can pull this off live, there will be tears of empathy in the audience. This track has a cathartic effect on the listener, every single emotion comes to the fore. My favourite track on the album, along with The Beat Goes On.
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 kaleidoscopic 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.
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 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. As previously mentioned, this is my favourite track along with Wigwam.
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 the perfect ending to the album, the likes of which we have not seen since Champagne Supernova.
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 we have seen for years. Liam, Gem and Andy are an unconquerable songwriting team, and we can expect an abundance of classics from them in the coming years.
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