Visit Live4ever Media!
Follow Oasis Newsroom on Twitter

The Web's Most Popular Site for News on OASIS & The Gallagher Brothers

follow newsroom on twitter
L4E Homepage

Established 2002

Twitter




Forum



Site Navigation






Oasis Bootleg Board


radio RKID



Promote Your Page Too


Social Media







Read Our Exclusive Interview
News Archives

  • December 2002
  • January 2003
  • February 2003
  • March 2003
  • April 2003
  • May 2003
  • June 2003
  • July 2003
  • August 2003
  • September 2003
  • October 2003
  • November 2003
  • December 2003
  • January 2004
  • February 2004
  • March 2004
  • April 2004
  • May 2004
  • June 2004
  • July 2004
  • August 2004
  • September 2004
  • October 2004
  • November 2004
  • December 2004
  • January 2005
  • February 2005
  • March 2005
  • April 2005
  • May 2005
  • June 2005
  • July 2005
  • August 2005
  • September 2005
  • October 2005
  • November 2005
  • December 2005
  • January 2006
  • February 2006
  • March 2006
  • April 2006
  • May 2006
  • June 2006
  • July 2006
  • August 2006
  • September 2006
  • October 2006
  • November 2006
  • December 2006
  • January 2007
  • February 2007
  • March 2007
  • April 2007
  • May 2007
  • June 2007
  • July 2007
  • August 2007
  • September 2007
  • October 2007
  • November 2007
  • December 2007
  • January 2008
  • February 2008
  • March 2008
  • April 2008
  • May 2008
  • June 2008
  • July 2008
  • August 2008
  • September 2008
  • October 2008
  • November 2008
  • December 2008
  • January 2009
  • February 2009
  • March 2009
  • April 2009
  • May 2009
  • June 2009
  • July 2009
  • August 2009
  • September 2009
  • October 2009
  • November 2009
  • December 2009
  • January 2010
  • February 2010
  • March 2010
  • April 2010
  • May 2010
  • June 2010
  • July 2010
  • August 2010
  • September 2010
  • October 2010
  • November 2010
  • December 2010
  • January 2011
  • February 2011
  • March 2011
  • April 2011
  • May 2011
  • June 2011
  • July 2011
  • August 2011
  • September 2011
  • October 2011
  • November 2011
  • December 2011
  • January 2012
  • February 2012
  • March 2012
  • April 2012
  • May 2012
  • June 2012
  • July 2012
  • August 2012
  • September 2012
  • October 2012
  • November 2012
  • December 2012
  • January 2013
  • February 2013
  • March 2013
  • April 2013
  • May 2013
  • June 2013
  • July 2013
  • August 2013
  • September 2013
  • October 2013
  • November 2013
  • December 2013
  • January 2014
  • February 2014
  • March 2014
  • April 2014
  • May 2014
  • June 2014
  • July 2014
  • August 2014
  • September 2014
  • October 2014
  • November 2014
  • December 2014
  • January 2015
  • February 2015
  • March 2015
  • April 2015
  • May 2015
  • June 2015
  • July 2015
  • August 2015
  • September 2015
  • October 2015
  • November 2015
  • December 2015
  • January 2016
  • February 2016
  • March 2016
  • April 2016
  • May 2016
  • June 2016
  • July 2016
  • August 2016
  • September 2016
  • October 2016
  • November 2016
  • December 2016
  • January 2017
  • March 2017
  • April 2017
  • May 2017
  • June 2017
  • July 2017
  • August 2017
  • September 2017
  • About US

    Live4ever Media LLC (NYC / Leeds) are purveyors of new music, daily news, exclusive features and photo galleries on the world’s best Indie bands.

    Live4ever also produces and promotes high quality live music events, and is enjoying a growing industry-wide reputation for both discovering and showcasing new bands.

    Among the network of websites published are the acclaimed Live4ever Magazine and The Oasis Newsroom, the web’s most popular site reporting on the brothers Gallagher.

    Live4ever was founded by 3-time Emmy Award winning cameraman and concert photographer, Paul Bachmann. He is partnered by The Mic who brings a tenured background in Finance and keen knowledge of the Irish and UK music scene. Senior editor Dave Smith is based in Leeds, England and heads up Live4ever’s UK content, as well as overseeing all writing assignments for the ezine.

    “I love Live4ever – It’s a great site and always bang on the button!”

    Alan McGee,
    Creation Records Founder, Producer
    Community
    Oasis Web Links
    Partners

    Today's Top Stories

    Monday, October 17, 2011


      NME Review: Noel Gallagher's High Flying Birds

    8 / 10 Stars

    Is Noel Gallagher fucked? Less than 100 days since his comeback press conference and he’s been abandoned by Radio 1 (too old), failed to really set the charts alight with any of his new tunes and seen the debut performance with his High Flying Birds on Italian TV lambasted by Oasis fans who said he looked too nervous to pull off being a frontman (sample YouTube comment: “Come on Noel! You’ll get used to it!”).

    Noel’s admitted from the off, of course, that the idea of standing centrestage without little bro around to lap up the attention has left him biting his fingernails. But actually hearing him say that is really weird. Why? Because he’s the most brash, outspoken, bolshy and bitchy musician – no, personality – of the last 20 years. To have the guy come across as vulnerable just doesn’t sit right. And that’s exactly what makes this album so crucial, because for the first time since ‘Don’t Believe The Truth’ in 2005, Noel Gallagher actually has something to prove to people. He’ll always have ‘Wonderwall’ to bang his head against, sure, but to start your post-Oasis career with a shitter of a solo album? That’s something that’s definitely not in the manuscript.

    But let’s not be prissy here. You’ll have already seen the album’s mark at the end of this review. It’s no monstrosity, no major fuck-up, and no minor fuck-up either. On the contrary, it’s rather brilliant in places. Take the second track, ‘Dream On’. Noel says it’s “throwaway”, which doesn’t do it any favours. It’s a key song here because it’s so goofy. It’s carefree and catchy as hell; catchy the same way ‘Telegram Sam’, ‘Hotel Yorba’ or – hah! – ‘She’s Electric’ were. There’s a great, moronic line in it about all the kids drinking up their lemonade, and it proves that away from the arched-eyebrow seriousness of the past decade (‘Falling Down’, ‘Stop Crying Your Heart Out’, ‘Little By Little’), Noel can still bash out a three-minute guitar-pop gem that sounds at once wonky, blithe and brilliantly stupid. And for a 44-year-old father of three, that’s pretty impressive.

    It also takes precisely 52 seconds to get to the chorus, which as any burger-flippin’, jukebox-owning hick from 1950s America will tell you, is the OPTIMUM time in pop to get the masses singing along. Any longer and you’ve lost them. I raise this point for a reason, because structurally Noel’s reined everything in on these 10 tracks. Gone are the days of the three-minute intro (apart from opening track ‘Everybody’s On The Run’, everything here gets down to business within about 20 seconds), and gone are the maddeningly repetitive guitar solos and endless outros.

    In fact this is probably the first Noel album since ‘…Morning Glory?’ where you feel the songs never really outstay their welcome, and it’s all the better for it. Weller played the same trick on 2010’s ‘Wake Up The Nation’ (where many of the songs clocked in at around two minutes), and while there’s nothing as brash’n’breezy as that here, it’s still an absolute joy to listen to the songs, think to yourself, ‘THIS is where the vocals need to start’, and then hear Noel’s voice come in. Simple, but effective.

    Elsewhere, you’ll have already heard ‘The Death Of You And Me’, which along with ‘If I Had A Gun…’ is the best thing on here. It’s got the much-touted brass section wheezing away at the side (you’d hope Noel takes them on tour), and marks a highpoint of Side A. Just about, that is, because the aforementioned ‘…Gun…’ trumps it. Ever since that scraggy soundcheck bootleg appeared online it’s stood out as something special, so you’ve gotta give its creator credit for fully realising its potential in the studio.

    Its chords, capo placing and canter-pace may be nicked from The Book Of Wonderwall, but it’s a far more contemplative piece overall, even sounding faintly glam when the drums and distortion kick in. The yearning, lovelorn chorus of, “Excuse me if I spoke too soon/My eyes have always followed you around the room” is one of the prettiest things Noel’s ever come up with, and it rightfully feels like the album’s centrepiece. By the time the ending saunters in (with a guitar line pinched from ‘Fade Away’), he may as well be off buying guitar-shaped beds and waiting for Chris Martin to cover it at Glasto.

    Of course, ‘Stop The Clocks’ and ‘(I Wanna Live In A Dream In My) Record Machine’, both of which have been online in demo form for years, are the two that sound the most Oasis-like. How could they not? The former – now with added choir and ‘Don’t Look Back In Anger’-esque guitar solo (the only one on the record, incidentally) – features a chorus dug straight outta the soul of Noddy Holder’s platform boots, while album closer ‘Stop The Clocks’ is an altogether more simplistic muse on what happens when you die (it’s uplifting rather than depressing, because it’s Noel). But then, you already know what they’re like, ’cos you’ve heard them both before.

    Their inclusion here is slightly perplexing because of that. Noel says it’s because they’re too good to fall by the wayside, and that they act as a final goodbye to his Oasis years… and you can kind of see his point. But he needs to stick to his guns, because the genuine newbies here (like ‘AKA…What A Life!’ and ‘AKA…Broken Arrow’) show he’s still got enough chops in him to carry off being solo without surviving off his former glories. Now, you want him to run with the idea of change and end up god knows where.

    The big question, of course, is does he miss Liam? And yeah, he does at times. Take opener ‘Everybody’s On The Run’. It’s a brilliant song. It’s got a 100-piece Abbey Road choir on it and would sound great bouncing off the walls of Wembley Stadium. But it’s built for Liam Gallagher to wrap his lungs around. Without him, it’s subbed to merely ‘great’ status, and the lingering thought of what it’d be like with its rightful singer in place is tantalisingly frustrating.

    They need each other, everyone knows that. But this is a redundant point, as well as a minor quibble. We all know where Noel and Liam stand at present, and things aren’t gonna change between them for at least another album apiece. What Noel’s done on ‘…High Flying Birds’ is test the water, keep the good ship from listing and hand over a collection of tracks of which the best can stand proudly alongside ‘The Importance Of Being Idle ’. Fuck radio, fuck the charts and fuck nerves. Noel’s still got it. Only a fool would write him off.

    Matt Wilkinson

    Via L4e / source: NME.com



    Share Post
    [+] 5 comments

    For Breaking High Flying Birds News Click Here

    For Today's Music News Visit Live4ever Media

    Pretty Green - mens clothing from Liam Gallagher





    Visit our extensive news archives on the left sidebar for more!


    Pretty Green Ltd
    Newsroom Homepage

    Made in NYC
    Our Sponsors

    ---------------------------


    Pretty Green








    ---------------------------


    ---------------------------
    L4E MERCH


    SHOP

    ---------------------------


    Oasis Rarities

    ---------------------------


    L4E Partner


    ei8htball manchester logo
    Stats

    ---------------------------

    Visits Since 2002:

    Site Meter

    Registered Members:

       33'000




    | Contact |    | Privacy / Terms & Conditions |

    | RSS Feed |    | Twitter |    | Forum |


    All Rights Reserved; Live4ever Media LLC 2002-2015