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Post by elephantstone93 on Oct 5, 2017 5:15:39 GMT -5
I find it funny that the post before the Pitchfork review was a 5/5 review. Polar opposites 😂 Never trusted Pitchfork. Not just the reviews they give Liam and Noel, their reviews in general are awful.
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Post by mancraider on Oct 5, 2017 5:48:31 GMT -5
Gigwise.
Album Review: Liam Gallagher - As You Were 'Flush with credence and confidence, As You Were finds Liam Gallagher back where he began'
Photo: Press
It’s been an uncertain few years for Liam Gallagher. While older brother Noel gathered all the attention of late, Liam’s done little more than lick his wounds following the dissolution of his once promising post Oasis outfit Beady Eye and the break up of his marriage to boot. Uncertain as to his next move, he’s meandered aimlessly for the most part, going on holiday, indulging himself with a few pints, and jogging to keep himself fit. All well and good. But for a musician once considered a leading light of his generation, the busy work proved neither profitable or productive.
Consequently, Liam’s first attempt to cast himself in the solo spotlight qualifies the aptly titled As You Were as an especially auspicious effort. He has a lot to live up to, having branded himself through Oasis and then finding himself saddled with their success. The inevitable question was, is he up to the challenge of meeting his own high bar? Comparisons are bound to come quickly.
Happily then, Gallagher doesn’t seem to be too daunted by the challenge. ‘Wall of Glass’ and ‘Come Back To Me’ suggest this is a bold beginning, striking the same defiant tones that his former outfit purveyed back in the day. Likewise, ‘Bold’, ‘Paper Crown’ and ‘For What It’s Worth’ (No, not the Buffalo Springfield song of the same name) mostly share that same sound, allowing keen observers to label this Oasis incarnate. The determined acoustic strum that drives these decisive melodies suggests Liam was only too happy to return to that well-trod terrain, comfortable and content to retrace the bracing rhythms and stoic sounds that proved so successful in the arena environs.
While the material appears determined in its intent -- mostly a sharp rebuke to anyone or anything intruding on his current set of circumstances -- Gallagher’s infatuation with the sounds of the ‘60s and ‘70s enters into the equation as well. The vaguely psychedelic ‘When I’m In Need’ and the unabashed urgency of ‘You Better Run’ (again, not the Rascals original) and ‘I Get By’ ensure matters congeal in ways both edgy and intense. In fact, every offering proves as consistently compelling, proving that Gallagher’s wasted no time in re-establishing his regimen. “Get high, get fame,” Gallagher wails in the aforementioned ‘Come Back To Me’, positioning himself on that hedonistic plateau. Flush with credence and confidence, As You Were finds Liam Gallagher back where he began. Watch a video for “Greedy Soul” here:
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Post by mancraider on Oct 5, 2017 6:18:32 GMT -5
Telegraph.
Liam Gallagher, As You Were, review: as fresh and surprising as he endlessly boasted it would be
0 Liam Gallagher has unveiled his first solo record, the confident, surprising As You Were
Neil McCormick, music critic 5 OCTOBER 2017 • 10:47AM Liam Gallagher’s solo debut is a swaggering, charming, funny, emotional, singalong romp. It is easily as good as any album (and actually better than most) from the post-imperial phase of Oasis, after their first all-conquering two records. As You Were is a big, meaty offering overflowing with confidence and soul, re-establishing Gallagher as a rock star to the core. It is, in other words, as good as he boasted it would be.
The younger Gallagher brother has seemed fatally diminished since being cut off from the mighty Britpop myth of Oasis. His adventures in Beady Eye (what was left of Oasis after Noel Gallagher departed in acrimony in 2009) were received more in hope than expectation. After three unspectacular albums, they collapsed under the weight of their own history. Mediocrity just wasn’t enough to sustain the legend.
Meanwhile, big brother Noel slipped into the role of frontman for his own High Flying Birds with aplomb, his gift for a tune unassailable. Out on his own, Liam was an increasingly comical figure, loping about in the age-inappropriate clothes of his fashion label, Pretty Green, and endlessly, tiresomely and apparently pathologically insulting his more successful sibling on Twitter. After he divorced in 2013 from second wife Nicole Appleton, with four children (by four mothers) to support, the rumour was that Liam needed a new record deal more, perhaps, than the public needed him.
Liam Gallagher CREDIT: WARNER BROS RECORDS Liam is not a bad songwriter, having learned in the shadow of his brother to craft direct, Beatles-y singalong tunes. There are six solo compositions on his debut, and they are fine, lusty belters with lovely sensitive touches. But to fill the big-brother gap in quality, he has pragmatically embraced co-writing with the kind of manufactured pop stalwarts he has derided for his entire career. LA super-producer Greg Kurstin (best known for work with Lily Allen and Adele) and Andrew Wyatt (from Swedish electropop band Miike Snow) feature on the stand-out tracks, and help push songs deeper into melodic variation, interesting chord structures and lyrical potency.
What gives it freshness and conviction is Liam’s performance. I honestly don’t think he has ever sung as well as he sings here. He remains very direct, with an intense attack on each lyric, but there is real melodiousness in his movement over chord changes, a lovely smoothness in the way his voice stretches into long, drawn out fluctuations, and a new tenderness in his very sweet falsetto.
The biggest surprise is that Liam offers an apparently heartfelt apology for injuries he has inflicted on his brother on the grandiose, yet touching, For What It’s Worth, proclaiming, “I know in time we’ll put this behind.” With Liam in this vein of form, though, Oasis may just have to wait.
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Post by fiordiligi on Oct 5, 2017 7:07:35 GMT -5
Rolling Stone Italia gave it 8/10, "well beyond any expectation".
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Post by Deleted on Oct 5, 2017 7:23:32 GMT -5
The Telegraph review is weird. Is it necessary to mention how many children he has or make statements like "loping about in the age-inappropriate clothes of his fashion label, Pretty Green". And I guess I missed the 3rd Beady Eye album.
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Post by icebreath on Oct 5, 2017 7:25:44 GMT -5
Rating: 3/5Download this: Wall Of Glass; Bold; Paper Crown; For What It’s Worth; Universal Gleam It’s the kind of title that makes you wonder whether Liam Gallagher might be harbouring previously unglimpsed reserves of ironic self-deprecation – not a character trait for which he’s best known, admittedly. Apparently named after his Twitter sign-off, As You Were could serve as the mission statement for Liam’s entire musical enterprise, which remains firmly rooted in ‘60s modes. ’Twas ever thus, of course, for both Gallagher brothers, though Liam’s scope here is narrower than Noel’s, rarely acknowledging anything beyond the strictly Beatle-esque. Which is, admittedly, not a bad limitation to work within, if you have to choose – and so skilled has he become at the requisite Fab sounds and styles that the better tracks here fizz with a genuine pop charm. Opening with the folksy simplicity of acoustic guitar and vocal, “Paper Crown”, for instance, builds poignant pop momentum as Liam sketches his portrait of abandonment, advising “Better if you don’t look down/At the pages of your paper crown”. “Bold” likewise expands from acoustic strummage, with mellotron shading his uncharacteristically thoughtful reflection on old problems and apparent acceptance of irreconcilable differences. Hmmm…so who do you suppose they might be about? Gallagher’s undoubtedly helped by his canny choice of producers, with Dan Grech-Marguerat’s broad pop and rock experience on the majority of tracks complemented by the midas touch of Greg Kurstin on the rest. It’s the latter, playing virtually everything but drums, who enables the album to open with the welter of wailing bluesharp and brash, wiry guitar that is “Wall Of Glass”, the brusque arrangement expertly embodying the aggression in Liam’s eager anticipation of karmic retribution: “one day you’ll shatter like a wall of glass”. Grech-Marguerat, likewise, brings chugging, bluesy elan to the kiss’n’tell complaint “Greedy Soul” (“She got her 666/I got a crucifix”), while the string arrangement of “For What It’s Worth” enigmatically captures the song’s mixed emotions of grudge and apology. Between them, Kurstin and Grech-Marguerat bring a solidity and polish to Gallagher’s Beatle-ish notions that hoists some of them above mere homage or pastiche. It’s not completely successful, of course. The chippy, confrontational “You Better Run” has swagger aplenty, but while it brazenly rhymes “gimme shelter” with “helter skelter”, it lacks the punch and idiosyncratic manner of either; and the line in “Chinatown” about “happiness is still a warm gun” lands with a thud as dull as its plodding beat. Other tracks, like “I Get By” and “When I’m In Need”, are just drably repetitive, insistent but irritating expressions of personal traits to which Grech-Marguerat has applied perhaps a touch too much attention: they simply postpone the welcome arrival, late on, of the mellotronic epiphany of “Universal Gleam”. But following the largely insipid twinklings of his Beady Eye, As You Were suggests that, given the right conditions and appropriate collaborators, Liam Gallagher could become a more potent force than expected – especially if he could broaden his musical outlook beyond such predictable parameters. www.independent.co.uk/arts-entertainment/music/reviews/liam-gallagher-as-you-were-review-john-lee-hooker-king-of-the-boogie-jon-boden-afterglow-a7984566.html
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Post by mancraider on Oct 5, 2017 8:08:02 GMT -5
Guardian
The relative commercial failure of Liam Gallagher’s post-Oasis band Beady Eye counts as one of the more perplexing events in recent pop history. To an impartial observer, their two albums seemed neither better nor worse than Oasis’s multi-platinum latter-day efforts. It was surprising that a fanbase who once seemed perhaps the most devoted and undiscriminating around – people who dutifully trooped out in their millions to buy albums as mediocre as Heathen Chemistry, people who sent a track as slender as Songbird to the upper reaches of the singles chart – suddenly became so capricious, so seemingly discerning in their pursuit of Beatles/Slade-influenced bloke-rock. But they deserted in their droves: comparing Beady Eye’s sales figures to those of even the least successful Oasis album, 90% of them jumped ship. Why? Was it loyalty to Noel? Or does some kind of super-sense lurk beneath their feather-cuts that enables them to discern a qualitative difference between the contents of the Beady Eye album Different Gear, Still Speeding and all the forgettable old toot Oasis peddled in the noughties?
Liam Gallagher is an unfiltered star who rescues us from pop boredom Ben Beaumont-Thomas Read more Whatever the reason, it has left the younger Gallagher in a strange position: working, at his new record label’s behest, with pop songwriters for hire – most notably Greg Kurstin, of Adele, Sia and Ellie Goulding fame – and openly referring to his debut solo album as “my last chance”. If the pro songwriters occasionally just turn out machine-tooled takes on the aforementioned old toot that became Oasis’s main commodity in their later years, elsewhere the decision to employ them pays dividends in punchy, sharp production touches – the sampled guitar screech that powers the great single Wall of Glass; ominous We Love You-esque piano at the end of Come Back to Me – and some dexterous melodic twists and turns. An otherwise nondescript two-chord trudge called I Get By is unexpectedly rescued by a middle eight that achieves a dizzying vertical take-off.
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For What It’s Worth and Paper Crown, meanwhile, are fantastic: conspicuously better ballads than Gallagher Snr has come up with in 20 years, although it’s perhaps worth noting that their degree of craftsman’s polish means they don’t recall Oasis so much as the stadium air-punchers Guy Chambers and Robbie Williams wrote under Oasis’s influence. Chinatown is based around a lovely acoustic guitar figure, but is hobbled by lyrics so awful they can only be listened to safely with a pillow in front of you, thus avoiding injury when the urge to beat your head against the table becomes overwhelming. It sounds like a parody of one of those portentous Noel’s-been-having-a-think ballads that stank up Oasis’s late albums, and furthermore seems to favour us with Liam’s indispensable thoughts on Brexit: “What’s it to be free, man? What’s a European? Me, I just believe in the sun.”
Keeping to the Oasis template … Liam Gallagher. ‘What’s it to be free, man? What’s a European?’ … Liam Gallagher. Photograph: Frank Hoensch/Redferns
Liam Gallagher: ‘Rock’n’roll saved my life’ Read more In truth, the lyrics are a problem throughout – although in fairness, at this stage, anyone buying an Oasis-related product in the hope of hearing decent lyrics is optimistic to the point of insanity. At their best, they aim for Shaun Ryder-y gibberish and occasionally hit their target – “You would keep the secrets in yer / You’ve been keeping paraphernalia” – or throw out put-downs that sometimes stick: “You made fun of everyone that falls, but in the meantime they were saving you a place.” At their worst, they persist in the wearying old habit of cramming clunking Beatles references in at every conceivable turn – “Happiness is still a warm gun”, “Look for the girl” – which rather serves to underline that there’s nothing new here, nothing to suggest that there has been any broadening of Gallagher’s musical horizons in the last 25 years.
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This is an album on which a track that sounds like the Hollies rather than the usual gallery of 60s and 70s suspects counts as a bold step into the unknown. You listen to him on the concluding I’ve All I Need, singing “Slow down, all things must pass, take your time, know the score, tomorrow never knows” and think: never mind the rest of us mate, are you not getting a bit bored of this stuff by now?
Sign up for the Sleeve Notes email Read more In fact, I’ve All I Need – written by Gallagher alone – has a certain elegiac quality, as if its author assumes it’s going to be the last his audience hear of him for the foreseeable: “Dry your eyes … thanks for your support.” That seems a bit premature: if As You Were is not an unalloyed triumph, then nor is it the stuff of career-ending disaster. Its failings are the failings you could level at pretty much every Oasis album, its sprinkling of highlights an improvement on most of their output since the mid-90s. Perhaps that’s enough to win back the fans who jumped ship.
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Post by mancraider on Oct 5, 2017 8:14:18 GMT -5
Guardian The relative commercial failure of Liam Gallagher’s post-Oasis band Beady Eye counts as one of the more perplexing events in recent pop history. To an impartial observer, their two albums seemed neither better nor worse than Oasis’s multi-platinum latter-day efforts. It Review by someone who hates everything oasis ever did and concludes that this isn't any worse. A triumph of sorts I suppose.
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Post by jordan71421 on Oct 5, 2017 8:19:45 GMT -5
Guardian The relative commercial failure of Liam Gallagher’s post-Oasis band Beady Eye counts as one of the more perplexing events in recent pop history. To an impartial observer, their two albums seemed neither better nor worse than Oasis’s multi-platinum latter-day efforts. It Review by someone who hates everything oasis ever did and concludes that this isn't any worse. A triumph of sorts I suppose. I do believe there is some truth in that quote, don't you think?
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Post by mancraider on Oct 5, 2017 8:24:09 GMT -5
Review by someone who hates everything oasis ever did and concludes that this isn't any worse. A triumph of sorts I suppose. I do believe there is some truth in that quote, don't you think? Well I was referring to the review as a whole rather than that particular paragraph, I just edited it down to save space (bit ocd I know). The point is valid without the following implication that BDI were just as shit as oasis and it was a mystery why there moronic fans differentiated between them because they obviously didn't have the intellect to make an educated decision about the merits of the music.
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Post by elephantstone93 on Oct 5, 2017 8:58:33 GMT -5
I do believe there is some truth in that quote, don't you think? Well I was referring to the review as a whole rather than that particular paragraph, I just edited it down to save space (bit ocd I know). The point is valid without the following implication that BDI were just as shit as oasis and it was a mystery why there moronic fans differentiated between them because they obviously didn't have the intellect to make an educated decision about the merits of the music. That’s some jump you’ve made there.
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Post by mancraider on Oct 5, 2017 9:11:18 GMT -5
Well I was referring to the review as a whole rather than that particular paragraph, I just edited it down to save space (bit ocd I know). The point is valid without the following implication that BDI were just as shit as oasis and it was a mystery why there moronic fans differentiated between them because they obviously didn't have the intellect to make an educated decision about the merits of the music. That’s some jump you’ve made there. Yeah a bit hyperbolic no doubt. Still, it's clear the low esteem the reviewer holds anyone that could like possibly anything oasis related. Makes the review a little pointless.
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Post by LightsOffInside on Oct 5, 2017 9:23:56 GMT -5
I do believe there is some truth in that quote, don't you think? Well I was referring to the review as a whole rather than that particular paragraph, I just edited it down to save space (bit ocd I know). The point is valid without the following implication that BDI were just as shit as oasis and it was a mystery why there moronic fans differentiated between them because they obviously didn't have the intellect to make an educated decision about the merits of the music. I reckon the quote is nonsense, and doesn't reflect the fans correctly. The entire worlds biggest gripe with Beady Eye was that it wasn't as good as Oasis, period. Plus, Oasis's later albums were far, far superior to anything that Beady Eye ever put out. Enter 'As You Were', which is a huge improvement.
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Post by Headmaster on Oct 5, 2017 10:00:54 GMT -5
Wow, AYW got very good reviews from main publications, Q, NME, Allmusic, Mojo...
Ahh Pitchfork, always you, they hate Oasis by heart, I'll never forgive them for that 3.7/10 for The Masterplan, Rollingstone magazine is another crap publication which will always hate Oasis.
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Post by icebreath on Oct 5, 2017 10:14:14 GMT -5
Paste Magazine Review Rating: 6.7/10Liam Gallagher is one of the few rock stars who remains as outspoken and surly as he was during his younger years. Just ask admirers like Ryan Adams. Whether it be his needling of his brother and other targets on Twitter or failing to recapture the magic in his post-Oasis outfit Beady Eye, the younger Gallagher has never been risk averse. Beady Eye’s unexpected demise, culminating in a 2014 Coachella appearance cancelled at the last minute without reason, allowed Gallagher to remain relatively reclusive. Sure, he was moderately active on Twitter, but mostly to talk smack to soccer fans about the success of his beloved Manchester City Football Club. Hearing the plaudits his brother received for his solo albums served as motivation for the younger Gallagher to hunker down and write his most inspired material in two decades. In last year’s documentary, the excellent Supersonic, Liam admitted that what they may have lacked in talent, “no one could question our spirit.” He’s right. Noel Gallagher may have written all of the Oasis’ signature songs, but Liam was his conduit for giving them their bar-battered soul. The major challenges Gallagher faced on his debut were of his own doing. He’s been talking about As You Were for years, and vowed to quit if it proved to be a dud. The hype and pressure of his own accord could have distracted from the songwriting process, but it didn’t. Just like Beady Eye, the spirit was there, but this time, so are the songs. Co-writing with Andrew Wyatt, who helped pen the sizzling, harmonica-infused “Wall of Glass,” and producers Greg Kurstin and Dan Grech-Marguerat, helped the singer recapture his edge. Unlike the bloat that defined the post-Be Here Now period, As You Were is lean and crisp. None of the songs are over four minutes and are briskly paced without feeling rushed. This is evident on a number of tunes, notably the straight-forward rock of “You Better Run” and the Britpop ballad “For What It’s Worth.” The latter won’t be confused with the Buffalo Springfield classic, but it shows how Gallagher’s battle worn voice can be still teeter between vulnerable and tender without losing its edge. On “Greedy Soul,” the quick-hitting cousin of “Supersonic,” the singer shows can still tough out a heavier rocker. Instead of gin and tonic longing for women in BMWs, Elsa and Alka-Seltzer, Liam sings “She got a 666/I got my crucifix” over a snappy drumbeat. The biggest difference between Beady Eye’s two albums and As You Were is Gallagher himself. His former band tried to be Oasis without Noel and overcompensating for his presence doomed their efforts. Here, the singer plays to his strengths, and it works. Like he described of his voice in Supersonic, Gallagher’s melodic snarl has put a well-documented strain on his vocal chords. He works within those constraints and manages to put together a winning effort. The tenderness of the apologetic “Chinatown” is as warm as “Talk Tonight” and somehow, Liam cuts as sympathetic a figure vocally as his brother did on the beloved B-side. Whether it’s coincidence or trolling, Noel Gallagher announced plans to release his third solo album as Liam’s about to finally unveil his. Naturally this led to Liam’s groveling on Twitter, but he doesn’t have to defend As You Were. This album would have been the Oasis comeback album fans wanted if the brothers could put aside their issues. The biggest and most welcome surprise is that As You Were is not only a cohesive, fluid record, but shows that at age 45, “our kid” isn’t ready to go away just yet. www.pastemagazine.com/articles/2017/10/liam-gallagher-as-you-were-review.html
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Post by elephantstone93 on Oct 5, 2017 10:19:10 GMT -5
Paste Magazine Review Rating: 6.7/10Liam Gallagher is one of the few rock stars who remains as outspoken and surly as he was during his younger years. Just ask admirers like Ryan Adams. Whether it be his needling of his brother and other targets on Twitter or failing to recapture the magic in his post-Oasis outfit Beady Eye, the younger Gallagher has never been risk averse. Beady Eye’s unexpected demise, culminating in a 2014 Coachella appearance cancelled at the last minute without reason, allowed Gallagher to remain relatively reclusive. Sure, he was moderately active on Twitter, but mostly to talk smack to soccer fans about the success of his beloved Manchester City Football Club. Hearing the plaudits his brother received for his solo albums served as motivation for the younger Gallagher to hunker down and write his most inspired material in two decades. In last year’s documentary, the excellent Supersonic, Liam admitted that what they may have lacked in talent, “no one could question our spirit.” He’s right. Noel Gallagher may have written all of the Oasis’ signature songs, but Liam was his conduit for giving them their bar-battered soul. The major challenges Gallagher faced on his debut were of his own doing. He’s been talking about As You Were for years, and vowed to quit if it proved to be a dud. The hype and pressure of his own accord could have distracted from the songwriting process, but it didn’t. Just like Beady Eye, the spirit was there, but this time, so are the songs. Co-writing with Andrew Wyatt, who helped pen the sizzling, harmonica-infused “Wall of Glass,” and producers Greg Kurstin and Dan Grech-Marguerat, helped the singer recapture his edge. Unlike the bloat that defined the post-Be Here Now period, As You Were is lean and crisp. None of the songs are over four minutes and are briskly paced without feeling rushed. This is evident on a number of tunes, notably the straight-forward rock of “You Better Run” and the Britpop ballad “For What It’s Worth.” The latter won’t be confused with the Buffalo Springfield classic, but it shows how Gallagher’s battle worn voice can be still teeter between vulnerable and tender without losing its edge. On “Greedy Soul,” the quick-hitting cousin of “Supersonic,” the singer shows can still tough out a heavier rocker. Instead of gin and tonic longing for women in BMWs, Elsa and Alka-Seltzer, Liam sings “She got a 666/I got my crucifix” over a snappy drumbeat. The biggest difference between Beady Eye’s two albums and As You Were is Gallagher himself. His former band tried to be Oasis without Noel and overcompensating for his presence doomed their efforts. Here, the singer plays to his strengths, and it works. Like he described of his voice in Supersonic, Gallagher’s melodic snarl has put a well-documented strain on his vocal chords. He works within those constraints and manages to put together a winning effort. The tenderness of the apologetic “Chinatown” is as warm as “Talk Tonight” and somehow, Liam cuts as sympathetic a figure vocally as his brother did on the beloved B-side. Whether it’s coincidence or trolling, Noel Gallagher announced plans to release his third solo album as Liam’s about to finally unveil his. Naturally this led to Liam’s groveling on Twitter, but he doesn’t have to defend As You Were. This album would have been the Oasis comeback album fans wanted if the brothers could put aside their issues. The biggest and most welcome surprise is that As You Were is not only a cohesive, fluid record, but shows that at age 45, “our kid” isn’t ready to go away just yet. www.pastemagazine.com/articles/2017/10/liam-gallagher-as-you-were-review.htmlA nice review that, reads higher than 6.7/10.
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Post by spaneli on Oct 5, 2017 10:30:36 GMT -5
The reviewer rated Ed Sheeran 2.8 Highly-rateds from this reviewer: Perfume Genius 8.8 Priests 8.5 Kate Bush 8.5 Fleetwood Mac 8.5 Lizzy Mercier Descloux 8.2 These New Puritans 8.4 The reviewer is Laura Snapes. I've always liked her (love her review of Perfume Genius). I don't always agree with her, but she's a damn good writer, does her research, and defends her points fairly well. Her review of As You Were isn't full blown Gallagher hate. I think the big difference is that she doesn't put Liam on too much of a curve. Other reviewers have used the better than expected line, but I think she approached it knowing that Liam had cowriters and expected better from that. I don't completely agree with her assessment (like with Universal Gleam), but there are a few songs that I agree with, and she did in fact praise Wall of Glass and Chinatown (which says that she doesn't completely hate all things Gallagher).
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Post by sirpsychosexy on Oct 5, 2017 11:01:15 GMT -5
5.6 and talking about Liam's style for 90% of review. In the other 9% they talk how it's bad Oasis record, 1% praise for the worst song on the album. Well I was almost right. They talked about his style a lot, gave it 4.9 and praised Chinatown
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Post by space75gr on Oct 5, 2017 11:24:41 GMT -5
theguardian review is really sick, if i can call that crap of shit a review! the same with its readers. whats wrong with these people? read the comments... nothing new from these people but i m still wondering what exactly are they tryin to prove...nurds so n so fake hipsters tryin to look intelligent and whatever the fuck they are tryin to be, missin always the point.stupid haters, hate for the hate. fuck.
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Post by rickypaglais on Oct 5, 2017 11:35:41 GMT -5
Guardian The relative commercial failure of Liam Gallagher’s post-Oasis band Beady Eye counts as one of the more perplexing events in recent pop history. To an impartial observer, their two albums seemed neither better nor worse than Oasis’s multi-platinum latter-day efforts. It Review by someone who hates everything oasis ever did and concludes that this isn't any worse. A triumph of sorts I suppose. Guardian for you. Paper of the working man my bollocks.
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Post by Pergola on Oct 5, 2017 12:25:14 GMT -5
Dutch magazine Oor has given their verdict. Not gonna translate it all, but some highlight:
- Beautiful and drowned in selfreflection song called Bold - Glamrocking bump (in the album) Greedy Soul - Beautiful arrangement in FWIW - Sugarsweet When i am in need is almost Liam-unworthy - exhausting Universal Gleam - the last three songs are slowly putting out the light, and with that the album is just thát what you don't wont: half succesful album. - 3 stars - can Liam do better? Probably not. Can do Noel better? We will see. Can the do it better together? Asking the question is answering it
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Post by uǝɥʇɐǝɥ on Oct 5, 2017 13:06:04 GMT -5
3 out of 6 from Musikexpress Germany. I don't bother to translate it. That was predictable like the Pitchfork review. I really hope it settles on a decent 7.5 on Metacritic.
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Post by elephantstone93 on Oct 5, 2017 13:07:02 GMT -5
3 out of 6 from Musikexpress Germany. I don't bother to translate it. That was predictable like the Pitchfork review. I really hope it settles on a decent 7.5 on Metacritic. It’s dropped to 73 now. The Pitchfork score has screwed it up.
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Post by uǝɥʇɐǝɥ on Oct 5, 2017 13:08:40 GMT -5
I'm hoping for something better than a 0/10 from Drowned In Sound.
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Post by elephantstone93 on Oct 5, 2017 13:17:39 GMT -5
I'm hoping for something better than a 0/10 from Drowned In Sound. I forgot about Drowned In Sound.
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