Of course the other Oasis websites didn't even wrote about this, blinded by the 'untouchable' Noel.
A journalist from Edinburgh Evening News has been refused tickets to review a Noel Gallagher gig because he slated the ex-Oasis star's debut solo album.
Gary Flockhart was told by Simon Blackmore of Black Arts PR, who represents Gallagher, that there weren't any tickets left to the show at Usher Hall.
In an email Blackmore wrote: 'Sorry Gary – not going to be able to spare any (is ridiculously oversubscribed and can’t fit everybody in). That piece you wrote about him last week didn’t exactly help your cause to be honest.'
Flockhart's review of Noel Gallagher’s High Flying Birds rubbished the star's debut efforts as sounding 'a lot like a collection of Oasis B-sides' although he did add it was 'no stinker'.
After he was 'banned' from the gig, Flockhart told his own paper: 'Noel is a great musician, and I've no doubt he would have put on a great show. He would have been judged on the gig itself, not the new album.
'This is a man who has spent his entire career slagging off other artists - he obviously doesn't like it when the shoe is on the other foot.'
Tom Little, editor of the Edinburgh Evening News, added: 'Personally, I think Noel Gallagher is a fine artist and songwriter, but it sounds like he needs better PR. Black Arts, indeed.
'Maybe Mr Blackmore and I should do a job swap - he can choose who does our music reviews and I can travel round the world and party with Noel.'
Noel Gallagher's High Flying Birds was knocked from the top spot in last weekend's chart by Coldplay's Mylo Xyloto.
In 2007 Aberdeen Evening Express reporter Steven Henry wrote a review of an Oasis concert saying that Liam Gallagher didn’t talk to the audience enough – prompting a sarcastic reaction from the frontman at a gig the following night in which he started asking audience members their names and what they had done that day. ahahaha
Some might say it is the kind of sulk more associated with petulant pop divas than superstar rock icons.
But former Oasis frontman Noel Gallagher’s PR man has thrown a strop following a bad review of his latest album by the Evening News’ chief music writer – and banned him from last night’s gig at Usher Hall.
News reviewer Gary Flockhart was told he had been black-balled for describing Gallagher’s new High Flying Birds record as a “letdown” and “big disappointment” in last Tuesday’s column.
In his piece last week, Gary mused that “any argument that Noel is Britain’s best songwriter died a long time ago”, pointing to a series of British artists – including Thom Yorke, Morrissey and PJ Harvey – who regularly “trump” Gallagher in the songwriting stakes. He added that Noel had only ever written two great albums – the last one coming 16 years ago – and criticised the ageing rocker for failing to evolve musically. But he tempered his comments by saying the “record is no stinker” with some “nice tunes”.
Following a request for press tickets on Monday, he was met with a stinging e-mail from Gallagher’s PR agent, Simon Blackmore of Black Arts PR.
It is understood tickets to last night’s concert would have be made available to any Evening News reviewer other than Gary.
The entertainments journalist said he was “shocked” by the reaction since it was not a particularly scathing review.
WHAT THEY SAID ABOUT GALLAGHER . .
Liam Gallagher: “I’m not arsed with what he’s doing. I’m sure it will all be very civilised and grown-up. His gigs will be like those that you can really stroke your chin at.”
Robbie Williams: “Noel’s run out of other people’s ideas.”
Damon Albarn: “Noel used to take the piss out of me and it really, really hurt.”
Justin Hawkins (lead singer of The Darkness): “Noel Gallagher is an overrated guitarist losing his grip on his credibility who just has to fire shots on his way down. It’s kind of a shame, really.”
Elton John: “He’s an absolute tosser and he looks like Parker from Thunderbirds.”
I looked up on their site and found a review by Fiona Shepherd, who gave another 2 stars out of 5:
Despite the contrary evidence of the limping latter stages of Oasis, the Gallagher brothers, at loggerheads or otherwise, are a stronger proposition together than apart.
The Singer needs The Song, and vice versa. Given the volatility of their relationship, it is always possible that the pair will be reunited further down the line but since Noel The Song announced that he was leaving, thereby effectively splitting the band, the siblings have been competing parties.
The younger, impulsive Gallagher rushed to reconvene, gathering the remaining Oasis troops and forming Beady Eye, a jam band of guys with the advantage of several world tours’ experience already behind them. But even Liam’s charismatic frontman chops couldn’t guarantee a hit album.
Gallagher Sr took his time, the apparently cooler head with arguably less to prove. Except that he, like his brother, has everything to prove. Where Liam is expected to bring it in the live arena, the burden on Noel is to deliver his riposte by album.
He could have gone out on a limb as the Oasis lone ranger, surprised the fans with a solo singer/songwriter project. It’s not like he hasn’t already covered for his errant brother with solo acoustic interludes at Oasis gigs. But that would have been a leap of faith, a polarising statement of intent and just too damn adventurous for this essentially conservative musician.
You can’t really blame him for taking the path of least resistance and forming a backing band – the rather less illustrious High Flying Birds featuring the bassist from The Zutons and some other session blokes you definitely won’t have heard of.
The Jefferson Airplane/Richie Havens-referencing name maintains the Gallagher tradition for poor monikers and titles. Also hopelessly ingrained is the almost unconscious borrowing from classic artists – across the album, Gallagher drops lyrical references to The Lovin’ Spoonful, The Kinks, Hendrix, musical nods to The Stones and Primal Scream, and even cannibalises some of his own back catalogue in an ever-decreasing circle of creativity.
Rather than go for an entirely clean break, Noel has recycled a couple of unreleased Oasis songs, which have been floating around for some years in live/demo versions, as a “last postcard from the Oasis years”.
As suggested by its title, (I Wanna Live In A Dream In My) Record Machine is Gallagher in woozy psychedelic mode, with an accompanying marinade of strings, while Stop The Clocks contemplates mortality as a lighter-waving anthem, before the end is signalled by a brief but potent guitar squall.
Not that there are any surprises among the newer tracks. There is nothing here that would have sounded out of place in an Oasis set, from the muted glam stomp of (Stranded On) The Wrong Beach to the love song If I Had A Gun, which is loaded with a round of clichéd sentiments.
The limit of his songwriting spectrum is not the issue – Motörhead and The Ramones built fantastic catalogues with even less variety – it is the mediocrity of the material. Lavish, heady strings and the epic contribution of the Crouch End Festival Chorus can’t save Everybody’s On The Run; neither can the ballsy trombone break at the end of Dream On, another title to make the heart sink. Both are pieced together using the random Gallagher lyric generator – exhortations to hang on, to hold on, references to a bit of light precipitation and the (knowing?) commentary that “I’m running out of batteries”.
There is a strain of wistful uncertainty running through some of the lyrics, in contrast to the combative but ultimately hollow confidence of Beady Eye. On The Death of You and Me, this is presented as a maudlin amble in the vein of The Importance of Being Idle, with embellishing Dixieland brass interlude.
Soldier Boys And Jesus Freaks is cut from similar Kinks-influenced cloth, from the Sunny Afternoon descending chords to the “village green” reference. There’s some nice soulful trumpet and a stab at a politicised lyric (“all around the world the holy men will twist the words of way back when”) but nothing to challenge complacency.
AKA…What A Life! is said to be inspired by Rhythim is Rhythim’s house classic Strings of Life but only in as much as it is built on an insistent piano riff over which Gallagher sings a simple but effective soaring tune with vaguely druggy lyrical associations. Hold the glowsticks, but this is as high-flying as these birds get.
There is still hope – a necessary commodity for fans of the Gallaghers – in the shape of a second album, to be released next year, on which Noel has collaborated with psychedelic duo Amorphous Androgynous, aka Future Sound of London’s Garry Cobain and Brian Dougans. There has been tantalising talk of funk and Krautrock influences but, whether or not these come to fruition, at least working with other writers might force him out of his comfort zone.
"ah diddums, poor old Noel. I printed a photo of him walking on a railway line while recording in Cornwall, which caused a minor furore. I suddenly found myself slapped with a letter from Oasis’ solicitor ordering me not to print the photo again. Maybe Noel should spend more time writing a decent song rather than haranguing regional journalists." - Lee Trewhela, Cornwall