LONDON - loved that Liam is still playing several songs written by Noel, a lot of money for Noel... and Liam's gig at Manchester Etihad stadium was so fucking boring... and singing like a frog.
Same for Knebworth, the betrayal of Oasis.
(but betrayals are normal in Liam's personal life...)
God wanted Bonehead not participating... leaving Liam alone with his psychiatric problems.
Liam would have a better impression if he retires... looking ridiculous at 50 years old.
He said he caused a lot of mess in his life... but also : people have a distorted image of him... (playing the poor victim) ...oh it must be Noel's fault eh...
He said he caused a lot of mess in his life... but also : people have a distorted image of him... (playing the poor victim) ...oh it must be Noel's fault eh...
He also said today's rockstars are sheep... (talking about himself again... psychiatrist needed) ...said from the politically correct one and posting the Ukraine flag...
Liam the servant (without even realising it) even feels to TEACH to others... one who showed (not to the blinded ones) to be violent, betrayer and a liar...
He says Noel plays to 300 people... (Liam's inferiority complexes so it's a continuous comparison) ...apart from the fact they're not 300 and he's playing festivals, but if we were really only 300, it would be even better. And more chance to meet him again.
Better 300, the hardcore of Oasis, than betraying Oasis at Knebworth for his psychiatric problems, as his fankids.He says Noel plays to 300 people... (Liam's inferiority complexes so it's a continuous comparison) ...apart from the fact they're not 300 and he's playing festivals, but if we were really only 300, it would be even better. And more chance to meet him again.
In a recent tweet, Liam Gallagher wrote that Oasis, his old band, “piss all over” the Beatles, his favourite band. That’s nice, isn’t it. Ironic, actually, as Gallagher seems to be pissing out the Beatles’ liquid waste on his new album, C’mon You Know, a soporific wade through the kind of swampy Britpop that achieves profundity only when you’re filthy, sunburned and four pints deep at Glastonbury.
There’s nothing inherently wrong with that, of course, but you’ll forgive me for finding Gallagher’s arrogance – no matter how performative, ironic or on-brand – slightly jarring. For some, C’mon You Know will no doubt be a balm: a return to the glory days of Oasis (AHAHAHA). Others may speculate on the value of writing 12 new, less exciting versions of “Don’t Look Back in Anger”. Not all music has to be deep, but this record isn’t fun or experimental either, which makes the whole exercise seem rather pointless.
The album opens with a heartfelt, spangled children’s choir on “More Power” in a self-aware nod to the Rolling Stones’s “You Can’t Always Get What You Want”, before it unfolds into Gallagher’s trademark andante pace and meat-and-two-veg guitar band, which dominates the rest of the record.
Nestled among the sludge, C’mon You Know is at its best with the harmonic jangling of “It Was Not Meant to Be” and folky optimism of “World’s in Need” – the two tracks, incidentally, that sound most like the Beatles. It momentarily picks up in the middle with a few chantable choruses. Title track “C’mon You Know” drives forward at a quicker pace, with vapidly optimistic, crowd-pleasing lyrics – “You know it’s gonna be alright/And we’re gonna dance all night”. On “Everything’s Electric” there are syncopated piano riffs and some heady British summer energy, with twanging guitar solos and a satisfying stomp.
Although “being alright” and “dancing all night” are very post-Covid feelings, Gallagher was adamant that this wasn’t a “post-Covid” album – “Fuck that shit – I don’t want to fucking hear about [the pandemic] ever again, do you know what I mean?” he told NME. Fair enough, you might say, but it does knock the wind out of such sweeping lyrics, which are very quickly transformed from heart-warming collective sentiments to completely meaningless clichés.
Gallagher’s spicier moments – the kick drum chorus on “I’m Free”, the mournful nostalgia of closing track “Oh Sweet Children” – are a much-needed injection of life into what is otherwise a textbook exercise in drear. Sure, everyone will stomp around shouting and throwing drinks when Gallagher does his festival circuit this season, and sure, the diehards will be pleased at this full-length return to late-1990s form. The problem is that throughout C’mon You Know I was – to borrow a phrase that Gallagher used to describe his experience of that lockdown we’re not allowed to mention – “bored shitless”.
another negative :
Gallagher's vocals are painfully mediocre here and act as further proof that his glory days as a performer are far behind him. The effects and polish that are often layered over his vocal delivery act as the dried out cherry on top of a very inauthentic performance. There isn't an ounce of care or passion in Gallagher's voice, yet he tries to capture the same emotions and tones he did when Oasis were at their best all the same. Rather than walk the same road as some such as Jonathan Richman of The Modern Lovers, Liam Gallagher refuses to move on to a new sound to accommodate a weaker set of lungs. Although this is certainly the man that once fronted one of British music's best artists of the 1990s, Definitely Maybe this is not. This isn't even Be Here Now in terms of quality, if I'm being honest.
Liam sounds completely disengaged with C'mon You Know and generally disillusioned by his own sound. His third solo record could have easily been a golden opportunity to at least dip his toes into a style that would lead him in a different but fresh direction. Rather, this album feels like a contractual obligation rather than a passion project of any kind. The instrumentals are remarkably similar to those that can be found on albums from previous projects of his, except presented in a less immediate fashion. Gallagher himself can barely bring himself to sound interested on the majority of the record. C'mon You Know's only highlight is the mildly psychedelic and dark cabaret influenced "Moscow Rules," an excellent track that sees Gallagher put legitimate love into his music. It is also a song that acts as an example of what every other song here should have been: something new, not a passionless rehash.
As far as songwriting goes, Liam never once reaches his older work, but that really shouldn't be expected. As it stands, C'mon You Know doesn't do much that doesn't tackle the hyper-positivity and glass-half-full mindset Gallagher has done in the past. While it still is an example of most people's favorite Gallagher brother begging a larger audience to care about him again by circling around to old ideas, the songwriting here doesn't suffer nearly as bad as the instrumentals in this regard and is reasonably harmless overall.
Speaking of those instrumentals, they're quite dull and often barely fit the intended tone of the songs. The musicianship here feels automated and robotic in nature, with limited room for typical emotion. Tracks with potential personal impact such as "Diamond in the Dark" are muffled by instrumentals that conjure an emotional reaction percentage of approximately zero. I suppose there are significantly worse performed records from the past few months than C'mon You Know, but Liam Gallagher's third solo album is dreadfully lifeless nonetheless.
In conclusion, C'mon You Know is a disappointing listen at best. What could have been an excuse for the younger half of the brothers Gallagher to develop his sound beyond one of tired Britpop is nothing more than a weak offering that leans on the excellent "Moscow Rules" to not be a total sepia-toned train wreck.
C’mon You Know hardly sets the pulse racing any more than its two predecessors.
The old adage about cooks and broth holds true, because for all the efforts of the crack team surrounding him, the results are largely unremarkable and at times, as in the case of Oh Sweet Children, downright cloying.
more soon
