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Post by carlober on Feb 17, 2015 12:02:03 GMT -5
February 14th 2011, Valentine's Day: the debut album from Beady Eye leaked, exactly 4 years before Chasing Yesterday. What a coincidence! In these four years we had two album from Noel and two from Beady Eye, followed by their sad demise. I thought it would be interesting to hear how we judge Different Gear, Still Speeding after all this time  I'll start: I was really excited in Jan/Feb 2011, while waiting for the album. I had mixed emotions after hearing the first songs (Bring The Light, Four Letter Word and The Roller) but I was optimistic. Then the album leaked and it was a bit of a disappointment: it had some strong tracks but also too many scraps, and some truly awful songs. I immediately thought that what lacked the most was quality songwriting. The good tracks... yes, they were good, but they were still missing something, lyrically or melodically. Now, four years later, I'm pretty convinced that this is the weakest record released by one of the Gallaghers (yes, even worse than Heathen Chemistry) and I'll now try to explain why using my modest knowledge of English language. Needless to say, it's my opinion and nothing more. Before we go on: no, this is not another "Beady Eye haters" thread. I think it's better to underline this, since we have some people on here who take every criticism at Beady Eye way too personally and are ready to accuse other users of "Noel fanboyism, kissing Noel's ass, if Beady Eye released this song it would be called crap" and similar bullshit. Yes, I do prefer Noel's two solo albums and I do believe that he is unarguably better than LAG as a songwriter, but I really enjoyed BE (which is a massive, massive improvement over DGSS) and I really wanted Beady Eye to release a third album. Sadly this didn't happen. 1) Four Letter WordThe album kicks off with one of its best pieces. A nice riff, good lyrics, some great heavy drumming by Chris and a raw vocal performance by Liam which works quite well in the context of the song. This is what Beady Eye should have released as their first track instead of Bring the Light (more on that later...) 2) MillionaireI remember really liking this back in 2011. It might not be a masterpiece but its uplifting mood is still very effective. Lyrics are nonsense, but they manage to remember that early Oasis nonsense, which is not a bad thing. Some really interesting sounds and guitar licks are going on in the background. A good one. 3) The RollerI really liked this when it was published as a single and I still do, even if I have to be in the right mood to listen to it. Sometimes I find it a bit annoying and I'll just skip it when it comes up in a random playlist, I don't really know why. The lyrics are a bit shit (Just call me the roller, I’ll squeeze and unfold ya?), but it shows some excellent instrumentation and the little guitar solo in the middle is definitely an highlight. 4) Beatles and StonesThis gets quite a lot of hate on here but to be really honest I quite fancy it. It's a lazy attempt at writing a '60s rocker but somehow it doesn't work that bad in the flow of the album. Again, I must be in the right mood to listen to it, but I like the version with the longer, edited intro. We'd better not talk about the lyrics though... 5) Wind Up DreamNow this is bad. Not unlistenable crap like some other tracks on here but it's poor indeed. It sounds like something from Heathen Chemistry, just a tiny bit worse. It's even got an harmonica in it (and I love harmonicas!) but the song as a whole is forgettable to say the least. 6) Bring the LightAnd here we go... this was embarrassing in 2010 and it still is. And basically it was their business card to introduce themselves to the world, what a bad choice! I think many people (a lot of Oasis fans included) stopped caring about Beady Eye after hearing this track and they never gave them another serious chance afterwards. This song has been their first nail in the coffin. 7) For AnyoneIs this Songbird part II? Sequels are seldom better than the first episode (The Empire Strikes Back is, though) and this makes no exception. Actually I think it's shit: I listened to it again today (probably for the first time since 2012) and I struggled to get to the end of its 2:16 length. Annoying vocals by Liam, forgettable and trivial lyrics, featureless melody. It's definitely not The Empire Strikes Back... it's more like Attack of the Clones and its absurd, awfully portrayed love story between Anakin and Padmé. I'll probably never listen to it again in the next three or four years... 8) Kill for a DreamI'll admit I liked this quite a lot in 2011. I don't know what was going on in my head at that time, because Kill for a Dream sounds like rotten, putrid honey. The only good bits are when the guitar kicks in, the rest is entirely unremarkable (starting from the lyrics, which might not be awful but they're terribly stale). 9) Standing On the Edge of the NoiseI'll describe this in four words: utter piece of shit. Or in two, if you prefer: pure crap. It's unlistenable, I hated it since the beginning and now I seriously think that this is the worst song ever released by one of the Gallaghers. Worse than Little James, The Nature of Reality and Ain't Got Nothing put together. What were they thinking of? 10) WigwamI didn't like this four years ago when it came out, but it grew on me quite a lot during the subsequent year. It's probably one of the highest points of the album, notwithstanding the lazy lyrics and the never-ending Sha-la-las. I'm listening to it while writing this, I'm four minutes in and I'm getting a bit bored, but it's good to hear how it grows while we're approaching to the end. It works a lot better when you're drinking some beer. 11) Three Ring CircusIt was another favorite of mine after hearing it for the first time: I still listen to it at times but I find hard to ignore those dull lyrics and Liam's voice during the verses (it sounds somehow annoying). The chorus is addictive though. 12) The Beat Goes OnEvery time I listen to this it gets worse than the previous listen. I can't think of anything more stale, outdated, banal, irritating than this song. A really bad attempt at recreating a '60s hit... and this was a single? No way... 13) The Morning SonI know I'll be in the minority here, since TMS seems to be universally regarded as one of the best songs on this record. This just doesn't work for me: it plods along for six (six!) minutes, I hate the echo effect on Liam's voice, the melody and the lyrics are uninspired. What else to say? I'll admit that it's way better than TBGO, but sorry, it's not my cup of tea... and now, a short recap for everybody who didn't bother to read my poor review of the tracks  THE GOOD:Four Letter Word Millionaire The Roller Wigwam THE MEDIOCRE:Beatles and Stones Three Ring Circus THE BAD:Wind Up Dream Kill for a Dream The Morning Son THE CRAP:Bring the Light Standing on the Edge of the Noise (worst Gallagher track ever) For Anyone The Beat Goes on |
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Post by frjdoasis on Feb 17, 2015 12:03:17 GMT -5
Amazing album, love it totally!
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Post by leongti on Feb 17, 2015 12:40:06 GMT -5
Top album
disagree with the bad and the crap songs tho,only for anyone for me is a crap,the rest are all top songs live!
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Post by Manualex on Feb 17, 2015 12:58:01 GMT -5
I like some songs, but it sounds like it's 34 years old and not only 4.
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Post by NYR on Feb 17, 2015 13:28:46 GMT -5
I agree with most of what you wrote. The album was mediocre. It had some moments and a lot of disappointments. (I think The Morning Son was a highlight, so I'll have to disagree with you there.)
That said, if Liam and co. had listened to Steve Lillywhite, they could have made a truly solid record. He's one of the best producers of the last 30 years, and he knows what he's doing. Instead, they ignored everything he threw at them; every idea he proposed, and every criticism he had for the songs. He could have made some of the bad songs somewhat passable, the passable songs good, and the good songs great. They were arrogant fools.
The way Lillywhite was treated had to have made rounds around the industry (he's an outspoken fellow who does NOT like to be disrespected, which you can see on his Twitter account. On top of that, word spreads fast—especially about high level nightmare stories.). That's a big reason why every person they asked to produce their second album passed. (Not putting down Dave Sitek's work, but do you know how far down the line you have to go to get to him? He was literally the ONLY person who would work with them. He did a great job, too, even though the songs were awful.)
edited for clarity and clarification
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Post by Adam on Feb 17, 2015 13:32:17 GMT -5
I still enjoy listening to this album in its entirety. It has its low points and is bashed a lot, but I enjoy it's summery feel and the feeling that all restraints have been lifted.
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Post by glider on Feb 17, 2015 14:00:23 GMT -5
Agreed with you for a good amount as well, but some songs I just can't be bothered with. Beatles and Stones not only has horrible lyrics, but the beat is insanely rushed and sounds annoying and reckless. I like For Anyone personally, it's not a great song but it's better than the majority of the filler on the album. I get the hate for Beat Goes On, and yeah the lyrics are very laughable, but the sound of it is probably the best they pulled out of trying to make a Beatles' tribute. I guess I'll just put my categories.
Good
The Roller
Four Letter Word
For Anyone
The Morning Son
Meh
Beat Goes On
Millionaire
Wind Up Dream (The beat is great imo, but the lyrics need alot of work)
Bad
Wigwam
Standing on the Edge of Noise
Three Ring Circus (Beat is meh, but lyrics are really ermm..)
Utter Trash
Beatles and Stones
Bring the Light
Kill For A Dream
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Post by jupi on Feb 17, 2015 14:01:43 GMT -5
That said, if Liam and co. had listened to Steve Lillywhite, they could have made a truly solid record. He's one of the best producers of the last 30 years, and he knows what he's doing. Instead, they ignored everything he threw at them; every idea he proposed, and every criticism he had for the songs. He could have made some of the bad songs somewhat passable, the passable songs good, and the good songs great. They were arrogant fools. The way Lillywhite was treated made rounds around the industry. That's why every person they asked to produce their second album passed. (Not putting down Dave Sitek's work, but do you know how far down the line you have to go to get to him? He was literally the ONLY person who would work with them. He did a great job, too, even though the songs were awful.) Now that's interesting. Just out of interest, who's your source? Any interviews where these things were mentioned? |
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Post by Deleted on Feb 17, 2015 14:08:08 GMT -5
I haven't listened to the album enough to give a proper review. This is what I can remember:
Like:
Four Letter Word
The Roller
Beatles and Stones
For Anyone
Bring The Light
The Beat Goes On
I know a few of those aren't considered to be very good but there is something I like about each of them.
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Post by carryusall on Feb 17, 2015 14:23:01 GMT -5
Still like the record, it's not a classic, but a very good, lighthearted retro rock album. Liam sounds great
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Post by emanoel94 on Feb 17, 2015 14:28:11 GMT -5
I really hated the album when I first listened to it. Last year I rediscovered it, and loved Millionaire, Four letter Word, The Beat Goes On and The Roller. Now it's been a long time without listening to it again. Anyway, I like it more now than I used to
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Post by Deleted on Feb 17, 2015 14:31:58 GMT -5
Lighthearted retro rock album. This is the exact phrase I'd use to describe the album to someone who hadn't heard it. It's the album's charm. |
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Post by Marcos on Feb 17, 2015 14:55:16 GMT -5
What bugs me the most about Beady Eye in general is that they had a massive and successful tour (it was, by their standards) for the first record and a crap second tour filled with bad luck and awful choice of singles (as usual) to promote BE, which was a much better album than DGSS.
What if Dave Sitek had produced the first album? Could've it be saved or the majority of the songs were so bad that even a good producer couln't have helped them?
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Post by Marcos on Feb 17, 2015 15:17:35 GMT -5
I agree with most of what you wrote. The album was mediocre. It had some moments and a lot of disappointments. (I think The Morning Son was a highlight, so I'll have to disagree with you there.) That said, if Liam and co. had listened to Steve Lillywhite, they could have made a truly solid record. He's one of the best producers of the last 30 years, and he knows what he's doing. Instead, they ignored everything he threw at them; every idea he proposed, and every criticism he had for the songs. He could have made some of the bad songs somewhat passable, the passable songs good, and the good songs great. They were arrogant fools. The way Lillywhite was treated made rounds around the industry. That's why every person they asked to produce their second album passed. (Not putting down Dave Sitek's work, but do you know how far down the line you have to go to get to him? He was literally the ONLY person who would work with them. He did a great job, too, even though the songs were awful.) I didn't know their relation with Lillywhite was so troubled. Is there an interview or article about that somewhere? |
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Post by Mr. Bigglesworth on Feb 17, 2015 15:36:27 GMT -5
I don't geht all that lyrics are shit comments. They wanted to put out a Rock'n'Roll album. If I listen to Bo Diddley or Chuck Berry I don'tcare that mich about the lyrics.
Replace soteotn with womr and Wind up dream with itbwab and its a great record. Maybe even bas with mom. I Like bas but mom was a bit heavier.
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Post by Manualex on Feb 17, 2015 15:43:24 GMT -5
I agree with most of what you wrote. The album was mediocre. It had some moments and a lot of disappointments. (I think The Morning Son was a highlight, so I'll have to disagree with you there.) That said, if Liam and co. had listened to Steve Lillywhite, they could have made a truly solid record. He's one of the best producers of the last 30 years, and he knows what he's doing. Instead, they ignored everything he threw at them; every idea he proposed, and every criticism he had for the songs. He could have made some of the bad songs somewhat passable, the passable songs good, and the good songs great. They were arrogant fools. The way Lillywhite was treated made rounds around the industry. That's why every person they asked to produce their second album passed. (Not putting down Dave Sitek's work, but do you know how far down the line you have to go to get to him? He was literally the ONLY person who would work with them. He did a great job, too, even though the songs were awful.) I didn't know their relation with Lillywhite was so troubled. Is there an interview or article about that somewhere? Lillywhite tweeted(or said in some interview) something about that before Beady Eye finished the first tour/started to record the second album. I'll look for it but I cant give you certainity about it. |
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Post by Deleted on Feb 17, 2015 15:44:26 GMT -5
It's still shit.
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Post by Mr. Bigglesworth on Feb 17, 2015 15:51:28 GMT -5
Listening to it right now. It' lighthearted and fun. I still know why I loved it back then. But I prefer the moodier and somehow darker direction of BE.
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Post by Manualex on Feb 17, 2015 15:56:17 GMT -5
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Post by nahuel89p on Feb 17, 2015 16:05:44 GMT -5
Songs are rather good, attitude is good, it's just a rock n roll album, the problem is the production, it has too much bright too much treble!!!!!!!! that's where the main problem is. It's like a garage band of kids with cheap second hand amps.
The drum crash plates sounds satured!
THE TREBLE is the problem.
This albums needs wood, blues, earth, water to counterbalance. It's foil, plastic.
Am i the onyl one who feel this?
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Post by Mr. Bigglesworth on Feb 17, 2015 16:09:26 GMT -5
Songs are rather good, attitude is good, it's just a rock n roll album, the problem is the production, it has too much bright too much treble!!!!!!!! that's where the main problem is. It's like a garage band of kids with cheap second hand amps. The drum crash plates sounds satured! THE TREBLE is the problem. This albums needs wood, blues, earth, water to counterbalance. It's foil, plastic. Am i the onyl one who feel this? Well said! |
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Post by mark17188 on Feb 17, 2015 16:23:50 GMT -5
I absolutely love Bring the Light live, I don't understand the hate for that song. Lyrics are ridiculous but it works.
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Post by Marcos on Feb 17, 2015 16:33:38 GMT -5
Nice one! Thanks a lot, Manualex. |
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Post by Frank Lee Vulgar on Feb 17, 2015 16:55:59 GMT -5
I might be a little nostalgic for the time it was released, but I still rather like DGSS. Better than HC (except for SCYO) even, and barely worse than BE. Sure, the sound is old, but the tunes are really not that terrible; some are actually great (FLW, Wigwam).
For me:
THE GREAT:
Four Letter Word
Wigwam
THE GOOD:
Millionaire
The Roller
For Anyone
The Morning Son
Three Ring Circus
THE OKAY: (I'd listen to any of these again - I've actually grown rather fond of BTL after first hating it)
Bring the Light
Standing on the Edge of the Noise
Kill for a Dream
The Beat Goes on
THE BAD:
Beatles and Stones (and hey, even that one has the nice little middle part)
Wind Up Dream (the only one I consider to be 100% bad)
I completely agree though that BTL was a terrible, terrible choice for a first single.
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Post by tomlivesforever on Feb 17, 2015 17:52:49 GMT -5
I agree with most of what you wrote. The album was mediocre. It had some moments and a lot of disappointments. (I think The Morning Son was a highlight, so I'll have to disagree with you there.) That said, if Liam and co. had listened to Steve Lillywhite, they could have made a truly solid record. He's one of the best producers of the last 30 years, and he knows what he's doing. Instead, they ignored everything he threw at them; every idea he proposed, and every criticism he had for the songs. He could have made some of the bad songs somewhat passable, the passable songs good, and the good songs great. They were arrogant fools. The way Lillywhite was treated made rounds around the industry. That's why every person they asked to produce their second album passed. (Not putting down Dave Sitek's work, but do you know how far down the line you have to go to get to him? He was literally the ONLY person who would work with them. He did a great job, too, even though the songs were awful.) I'm also interested what the source is for this? Who turned them down? I struggle to believe that he was the ONLY producer in the world of music who would work with them even if they are difficult. |
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Nov 4, 2024 5:04:30 GMT -5
Nov 4, 2024 5:04:30 GMT -5