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Post by mossy on Nov 27, 2017 8:32:52 GMT -5
My impressions of Who Built The Moon? after 6 days and countless listens over a multitude of formats and mediums..................................
Fort Knox - If you told me this song was a long lost track from the infamous AA sessions I’d believe you. This is the sort of stuff I was expecting/wanting from that collaboration. Sadly we’ve heard very very little from those sessions. One day, one day. No doubt this was designed as a bombastic album opener. I dig the fighter jets being scrambled at the start and the sirens that make it feel sorta like Moby’s “Extreme Ways”. Song really gets going a little past the middle when Noel’s vocals finally enter the fray. I still say some sort of instrument/effect is missing at the 45 second mark that should have built on that epic beginning. Holy Mountain - Oh the divisive first single! This made so much noise on the forum and I was actually surprised by that. For me it’s sorta like “Roll With It”. Just a fun throw away single. It has the feeling of a high school marching band during a Friday night pep rally for the football team. Lots of energy. Lots of fun. Lots of dancing. Being the first introduction to the new tag team duo of Gallagher/Holmes I was expecting a more electronic pulsating type song.. Sorta like David Holmes own song called “Holy Pictures”. That was probably just my imagination getting the better of me. I dream big folks. Real big. Keep On Reaching - This song belongs in a Guy Ritchie film. Something like “Lock, Stock and Two Smoking Barrels”. Also has a strong early 90s Paul Weller Motown vibe going on. Very different approach for Noel. I’ve had the “can you keep a secret?” line stuck in my head for days now. High energy for sure. Curious to hear it live. Hopefully the Birds play it. It’s A Beautiful World - Loads of hype attached itself to this song beginning in the early summer when rumors were circulating on the forum by trusted ears that Noel was adopting a U2 “Discotheque” feel to this tune. I personally love that U2 song so that excited me plenty. Granted I knew very well that Noel would not take it down a completely disco road like Bono and the boys went with it. It’s definitely an album highlight for sure. Love that chorus. One of his best post Oasis ones for sure. The bass line, drums and guitar lick are fantastic. The cinematic landscape created by Holmes on this track is incredible. I wish I could hear the original sample they couldn’t clear for the middle French section. Not sure it’s ever going to be a big single. The release strategy for the song was a bit clunky, weird and delayed perhaps. Either way I’m happy this song exists in Noel’s discography. She Taught Me How To Fly - When the “Who Built The Moon?” trailer dropped this was an immediate highlight for me. Noel’s New Order song.. Reminds me of something off “Technique”. Love the fast driving pace of the song. Noel finally breaks free of his usually mid tempo rock. Nice to see Noel go all meta on us and reference his older material. Somehow the phrase ‘Put Your Money Where Your Mouth Is’ works better here than it did on “Standing On The Shoulder Of Giants”.. I’d like to see Holmes and Noel explore more sonic territories like this in the future. Looking forward to catching this one live at Radio City Music Hall come February. Be Careful What You Wish For - This one just crawled out of the swamp! Is that Noel saying “chicken paw” at the start? Totally Bonkers if so! A lot of people say the guitar line sounds like The Beatles “Come Together”. For me it sounds like the guitar guitar, bass and drumbeat from Radiohead’s “A Punch Up At A Wedding”. A very underrated song from “Hail To The Thief”. That guitar line also has hints of a slowed down version of “Give It Away” by the Red Hot Chili Peppers. It’s amazing that the guy who wrote “Supersonic” twenty plus years ago could also craft this baby. A song like this could have easily worked on “Dig Out Your Soul”. Preferably in place of High Horse. It totally has that groove vibe Noel was describing while promoting DOYS in 2008. Glad he could finally harness the sounds in his head for that for this project. Dark, dirty and swampy. Black & White Sunshine - I’m actually really surprised a song like this found a spot on the album. This easily could have been on Chasing Yesterday. Sounds similar to tunes like “Lock All The Doors” and “You Know We Can’t Go Back”. It even sounds like the start of “Do The Damage” and “In The Heat of The Moment”. I figured Holmes would quickly reject a song like this. It’s too Noel. Not that that is a bad thing but they had definitive rules for this project and to me this clearly breaks them. Early reviews described the song as a mid 60s psychedelic rock gem. I guess in my own head I dreamed of Noel crafting his very own “Citadel” by The Rolling Stones. I really am surprised a song like this made the cut with 3 other finished song left on the David Holmes bench. More curious to hear those than “Chasing Yesterday” inspired Tracks. Cool title though. Interlude (Wednesday Part 1) - First thing that springs to mind on this instrumental is the album “Rome” by Danger Mouse. An obvious homage to the spaghetti western genre. I almost expected someone to begin rapping on it like it’s some sort of Gorillaz b-side. Like Noel said to John Kennedy on Radio X, this track should have been moved up on the album right behind “She Taught Me How To Fly”. That would have broken up the album more than have two instrumentals so close to one another as the album begins to draw to a finish. If Love Is The Law - This is Noel’s Mumford & Sons song. When the track first kicked off I got strong “NeverEnding Story” vibes but that fades fast. This might be the happiest, fun and bouncy song Noel has made in over twenty years. I adore all the little elements of this song. Tremendous harmonica work by Johnny Marr. Sounds like a runaway train heading down the railway. Shades of Bruce Springsteen here. Really hope Noel plays this on the upcoming tour. I’d assume Gem handles the mouth organ. The Man Who Built The Moon - Easily one of the best songs Noel has written as a solo artist.. Top 5 for sure. It sounds cliche saying it sounds like a James Bond theme but you know what? It fucking does! The David Holmes production really pays off on a tune like this. An absolute beast of sonic textures. A grunge intro for sure. Very heavy. Cool lyrics, strings and choir. I love how Noel found inspiration from the film “Hateful Eight”. Noel needed a song like this to finish off “Dig Out Your Soul”. Would have worked perfectly. Oh well. It helps close out this album in grand fashion. Its epic but it doesn't over stay its welcome either. Finished at the 4:30 mark. Again, he better play this live. It’s a treasure. Please make more of this Noel and David. I beg of you. End Credits (Wednesday Part 2) - Pretty much what I said earlier about Part 1.. It sounds like Danger Mouse and Gorillaz scoring a spaghetti western in an alternate reality. I’m fully expecting someone on this forum to edit the two parts together like how Noel said it originally was. Maybe if Noel releases an EP from this project it’ll feature that along with Fort Knox with lyrics as well other bits and bobs. Who knows. Bonus Tracks..............Dead In The Water - A stunning acoustic beauty. These are the types of songs we all associate with Noel. A man and his acoustic guitar. Like early Bob Dylan. I think Noel included this as a “bonus” track as a magical silver bullet in case the album got slagged off he could always have this to fall back on and keep morale high. I’m torn on the idea of Noel eventually recording a studio version of this. I wouldn’t want him to botch it like “If I Had A Gun” and “The Dying of The Light”. I think he could nail it and be his later life “Masterplan”. It’s a roll of the dice for sure. Radiohead was able to pull it off with “True Love Waits”. The live acoustic version was the standard for almost two decades. They eventually nailed the studio recording for “A Moon Shaped Pool”. Either way it’s a great song. God Help Us All - This has been floating around since at least the “Don’t Believe The Truth” days. Could have easily been a b-side during that era or pop up as one for Noel’s debut. I’m glad Noel got this song out of his system now. I don’t want this type of music appearing later on. I want Noel to keep pushing forward. No more songs that’s are 10-15 years old. Some people were surprised how spare this recording is. Like it’s a demo or something. That’s probably the best incarnation of the tune to be honest. It’s nothing special and the songs simplistic nature is best left at that. Happy to have it in my collection but thrilled it’s not on a proper album. Onwards. Overall.......................I’ve been begging for Noel to work with an electronic modern type producer since the end of 2002.. Heathen Chemistry convinced me that Oasis and Noel were done with that certain type of sound and needed to expand or die. Noel’s teased us over the years with Death In Vegas and The Amorphous Androgynous but he always retreated back to Noel Rock in the end for various reasons. Finally in 2017 my dream comes true. I was beyond excited to learn that David Holmes and Noel would hook up to create an album together. I’ve long respected his work for film scores and his own LPs. This seemed like a marriage that could work till the end. Glad to say I’m more than thrilled with the results. I still think the album probably needs another 1-2 tracks to fill it out more. Those instrumentals are too stacked on the back end of the album. That shouldn’t have been allowed to stay like that. I've taken Noel's advice and moved "Interlude (Wednesday Part 1") to after "She Taught Me How To Fly". The two halves flow much much better. Can’t wait to hear this song that Holmes loved that Noel says is missing something but calls Noel a lunatic for leaving it off the final LP. Hopefully Noel and Holmes will continue their partnership for at least one more album. For once Noel finally sounds happy, modern and inspired. I hope this phase lasts several more years. There are so many more sonic palettes for Gallagher/Holmes to explore together. This could be the start of a marvelous musical adventure not only for Noel but for us fans as well.. I've probably not seen it for 25 years, but I now have the Never Ending Story theme tune stuck in my head. X |
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Post by mimmihopps on Nov 27, 2017 8:51:45 GMT -5
[/b]Sounds like The Smiths collaborating with New Order! Which is pretty funny when you remember how much Morrissey hated dance music. [/quote] Edit: This quoting stuff can be tricky sometimes...[/quote] The outro is Andy Rourkes masterpiece. |
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Post by Deleted on Nov 27, 2017 9:06:28 GMT -5
As it stands for me now...
1...FANTASTIC
2...Fantastic
3...fantastic
4...Fantastic
5...Alright
6...Meh
7...Alright
8...Alright
9...Fantastic
10..ALRIGHT
11..Alright
---
12..Fantastic (if Adele released this song it would get 250 million views and be a smash hit!)
13..Alright
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Post by funhouse on Nov 27, 2017 9:09:27 GMT -5
[/b]Sounds like The Smiths collaborating with New Order! Which is pretty funny when you remember how much Morrissey hated dance music. [/quote] Edit: This quoting stuff can be tricky sometimes...[/quote] The outro is Andy Rourkes masterpiece.[/quote] I'd say the entire song is  |
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Post by funhouse on Nov 27, 2017 9:18:07 GMT -5
Anyone else hearing similarities between this and She Taught Me How To Fly? (I mean the intro)
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Post by oasis6 on Nov 27, 2017 10:48:17 GMT -5
Wanted to use this rating system
1."Fort Knox" Fantastic
2."Holy Mountain" Meh
3."Keep on Reaching" Fantastic
4."It's a Beautiful World" Fantastic
5."She Taught Me How to Fly" Alright
6."Be Careful What You Wish For" Meh closing in on Shite
7."Black & White Sunshine" Fantastic
8."Interlude (Wednesday Part 1)" Meh
9."If Love Is the Law" Fantastic closing in on Godlike
10."The Man Who Built the Moon" Godlike
11."End Credits (Wednesday Part 2)" Meh
12."Dead in the Water" Fantastic
13."God Help Us All" Alright
Album as a whole Fantastic
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Post by lurker1 on Nov 27, 2017 12:07:53 GMT -5
Are the musician credits anywhere online?
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Post by Manualex on Nov 27, 2017 12:18:07 GMT -5
Are the musician credits anywhere online? Yes, there's a post in here with a picture of the japanese booklet with the credits. |
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Post by lurker1 on Nov 27, 2017 12:20:24 GMT -5
Are the musician credits anywhere online? Yes, there's a post in here with a picture of the japanese booklet with the credits. Thank you, I'll find that! |
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Post by theyknowwhatimean on Nov 27, 2017 16:46:41 GMT -5
Of course that's Jeremy Stacey on Black & White Sunshine... I'd recognise his leaden plod anywhere.
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Post by The Escapist on Nov 27, 2017 16:52:21 GMT -5
Of course that's Jeremy Stacey on Black & White Sunshine... I'd recognise his leaden plod anywhere. Considering taking B+WS off my playlist, so it looks like this: WHO BUILT THE MOON?1) Fort Knox 2) Holy Mountain 3) Keep on Reaching 4) Beautiful World 5) She Taught Me How to Fly 6) Intermission (Wednesday Part One) 7) Be Careful What You Wish For 8) If Love is the Law 9) The Man Who Built the Moon 10) End Credits (Wednesday Part Two) 11) Dead in the Water (Post-Credits Scene) |
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Post by theyknowwhatimean on Nov 27, 2017 17:56:46 GMT -5
Keep on Reaching, from 2:45 to just before it starts to fade out, is that a sonic screwdriver I can hear down the right channel?!
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Post by walterglass on Nov 27, 2017 18:46:53 GMT -5
I believe he said that about Keep On Reaching. Thx! Good song for me, but no Marvin Gaye anywhere! Some would say the whole album is very Gaye. JUST A JOKE, DON’T SHOOT 🤓 It’s the vocals on the outro, they’re very Marvin. I dismissed this song as pop fodder early doors but it’s really much better than that. |
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Post by sfsorrow on Nov 27, 2017 20:11:51 GMT -5
Who wants to bet that that before they settled on "Can you keep a secret," they used "Can I get a witness" as a placeholder.
The music itself doesn't sound like it but the melody reminds me of the earlier Marvin Gaye hits, like the one I mentioned above.
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Post by underneaththesky on Nov 27, 2017 21:09:50 GMT -5
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Post by oasisglory on Nov 27, 2017 21:38:06 GMT -5
My two pennies worth after a week or so playing the album constantly:
Fort Knox: Amazing. As many have remarked already, it's like a stall-setter for the album, almost seems to say 'move out of the way or else'. The small snippets like the alarm clock and jets work really well, and the female backing vocals add to the power of the track. The lyrics are succinct: gotta get yourself together, keep holding on. One to blast out loud on the headphones or speakers
Holy Mountain: Just a great, happy tune. It's unabashed in its happiness, especially with the kookiness of the tin whistle and brass. The vocals are reminiscent of Mucky Fingers, but the echo gives it that something extra. Something you can definitely have a little bop to with a drink in hand with that special someone
Keep On Reaching: it sounds urgent with the stomps at the beginning and the held note on the strings, as if something's about to happen. The utterances of 'can you keep a secret?' add to this feeling, and is maintained throughout the track. Again, the brass is a highlight. Liking this one.
It's a Beautiful World: When I first heard this on Jools Holland, it took a couple of listens to grow, and the whole scissors made me think if I could get into it fully, as I'd be trying to listen out for them. Turns out I needn't have feared as the album version is superb. The wind chimes that keep popping up give this a real ethereal feel, complemented by the echoed vocals again. The bass has been mixed terrifically here, acting as the bedrock of the track.
She Taught Me How To Fly: Loving the catchy melody plucked out on the guitar. The punchy drums delivery drive this song. Symptomatic of the positive, happy vibe that Noel has running throughout the album
Be Careful What You Wish For: Got a reeeeal groove on this one, yet the melody is basic. It's almost too slow a number, like how Gem described Supersonic in the Definitely Maybe documentary: it's like you're walking through a swimming pool. The female vocals give a sense of mystery and foreboding.
Black And White Sunshine: The rise of the prechorus into the chorus is a real highlight here, as is the simple structure and composition. Works nicely all together
Interlude (Wednesday part 1): Something new from solo Noel - an instrumental in the middle. I'd have to agree on the points made about the tracklisting; with only 2 tracks after it, it's perhaps better served being higher up the order. That said, it's a nice little tune, liking the key changes in it
If Love Is The Law: One of my real favourites. For me, I'm getting the overall happy, Christmas-y vibe from it, but also a real tinge of melancholy in the melody and lyrics, specially in the chorus - it seems to be from the point of view of someone that knows he has to let go of something/someone so is trying to convince themselves that it's the right thing to do. This is perfectly accentuated by Johnny Marr's simple but beautiful harmonica teasing out the melody, and the little break in the song allows it to come out in full force (his touches are superb, like they were on The Ballad Of The Mighty I). I love the ambiguity of the last line too: if love is the law, then this is a crime...what's the crime?
The Man Who Built The Moon: Fuck me, WHAT A SONG! The second the intro begins, the moodiness comes right at you in the face. The comparisons to a Bond song have been made, and they're spot on (and something as a bit of a Bond nut I find amazing). There's so many bits to love about this song: the structure, the composition, lyrics, the choir, the massive production, the vocals delivered with a slight menace, it all fits wonderfully together. The extra touches are what really brings the whole song out, like the wailing, sweeping strings that give that Bond sound, and I can't be the only one getting those little stabs of a harpsichord or something just before Noel sings each verse? Whatever they are, they're brilliant. The use of another break towards the end is great, and another song that sounds magnificent loud on headphones or speakers.
End Credits: A blissful way to end the album officially. It's a tad throwaway, but seems to fit - again, the key changes are lovely.
Dead In The Water: I think I said this in the thread about the song, but this is the kind of Noel song that makes you stop what you're doing and just let it hauntingly seep into you. It's just 4 chords (the same 4 that is synonymous with the man) and one voice, yet they've been moulded into something so personal, and carries that signature Noel attitude of a melancholy hope and defiance. I love the story behind it's origin, and the fact that we got to hear the little bit of chat before and after the track really reinforces that sense of this is a once in a lifetime moment. Mike Rowe's piano is poignant and delicate yet perfect, careful enough not to drown out Noel.
I'm curious as to how the song is properly meant to start though, as Noel sounds like he started midway through a verse, but I hope this isn't re-recorded. It doesn't need to go through a production process.
Overall: I said this at the time Holy Mountain was discussed a lot that we might get a record that contains more divisive moments, but given his track record, we trust Noel to have got it right. And got it right he did. It's different (as he noted on the interview with Frank Skinner: he hasn't got one note from his acoustic guitar on the whole record) without being too different. Perhaps some of us expected something even more random sonically, but for me, there are enough Noel signatures running through the heart of this record, be they melodies you can sing to, memorable lyrics or the eclectic instrumentation that you just get taken in with the very high quality of the songs. Can definitely seeing this having a lot of repeat value.
David Holmes as a producer has given this record a lot of power and grandeur, so kudos for him to having the gumption to take ownership of this and push Noel to deliver in this new style. Interestingly enough, the clash in methods between Noel writing away from the studio and then bringing them in vs Holmes' idea of creating everything from scratch in the studio presents excitement and opportunity: to know that Noel is capable of producing a record something like this and yet in his own words, he has bagloads of material in his old method lying about gives him a dilemma as to what to do next. His remark on the Radio X interview was telling, where he said he took some offence at Holmes somewhat dismissing Dead In The Water to go on the record, as for him it 'didn't fit'. Indicates to me that while Noel is rightly proud and surprised he could make a record with this new method, he doesn't want to entirely let go of his old ways that have bought him so much joy and success.
Nice one, Noel.
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Post by walterglass on Nov 27, 2017 22:45:40 GMT -5
I find it a much more balanced listen with this running order...
Fort Knox
Holy Mountain
Keep On Reaching
It’s A Beautiful World
She Taught Me How To Fly
Interlude
Be Careful What You Wish For
If Love Is The Law
Black & White Sunshine
The Man Who Built The Moon
End Credits
👌🏻
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Post by daknox on Nov 28, 2017 9:06:13 GMT -5
Can I post my own review here? It's a little long!!!...
Noel Gallagher. “The Chief” – a moniker earned during his iron-fisted reign over Oasis in the mid Nineties. And with bona fide classics such as Live Forever to his name, who could argue? He did relinquish some creative control over his old band eventually. When founding members Bonehead and Guigsy departed they lost a little bit of “rough around the edges” charm but they gained two respected musicians – Andy Bell and Gem Archer. The band of 5 now had 4 songwriters. Noel allowed the albums to be filled with songs by himself, his brother Liam and the 2 new recruits. Horizons were broadened and the band was a democracy. Quality control plummeted. Oasis were always at their best when Noel Gallagher was in complete control. Few would argue against debut Definitely Maybe and follow-up What’s The Story Morning Glory being the best albums in the bands cannon. And every song was written by Noel himself.
It’s 2017 now. Noel Gallagher is 50 years old. But is he still the man? He certainly is his own boss - he puts his material out on his own record label on his own terms. So if not, who is? First-time producer/collaborator David Holmes? The electronic composers influence is all over this album. But surely Noel, stubborn as we have been told he is, done things his way? Or is his Scots wife now quality controller? Speaking of Sara McDonald in 2015, Noel told the Daily Record “When I am working on music or writing songs and I do demos, she’s the last person I play them to because I can play her a song and go, ‘I think this is going to be an amazing tune’ and she’ll listen to it and go, ‘Hmm, it’s all right’”. So, does the man who sold over 70 million albums with Oasis really crave external approval? Does he work well with a hands-on producer such as Holmes? The answer can surely be found in this, his third solo album.
Noel didn’t do demos for this album. Holmes was asked to produce before, but the songs were already written for previous album Chasing Yesterday and Holmes doesn’t work like that. He wanted Noel to come in fresh and write everything in the studio under Holmes influence and guidance. And so it came to pass on Who Built The Moon. An album described by Noel himself as cosmic-pop. What an enticing description. Surely it sounds like the long-lost sequel to Piper At The Gates of Dawn? Or how Forever Changes would have sounded if Love had freed their minds a little bit more? We must be in for a pioneering collection akin to 2017’s answer to Revolver? Well, not quite. He has certainly expanded his musical palette with a more vibe/mood focused album with some electronic signatures, but this album is retro and sounds a lot like a Noel Gallagher album. Which is no bad thing.
They say that a great song-writer has a great record collection. This has always been true of Noel Gallagher. He has pilfered from his favourites to great effect. The Beatles, The Stone Roses and The Sex Pistols can be heard in his previous works. But Noel is also a fan of electronic music – a regular at the legendary Hacienda nightclub in his younger years. He has dabbled before - collaborating with The Chemical Brothers and Goldie to great effect. But here electronic textures are given more space than ever on a Noel Gallagher record.
We first hear the dramatic suspenseful chords of Fort Knox. A jet engine roars overhead. A big beat barges its way into proceedings. Women chant in a tribal manner and Noel repeats refrains of “keep on holding on” and “you gotta get yourself together”. It’s a great opener and feels a lot like a statement of intent – we are not about to hear Morning Glory Part 2.
Holy Mountain follows and it is joyous. At its core is a very pure 3-chord pop song. We have blasts of brass and a tin whistle sampled from a 70s track by The Ice Cream called “Chewing Gum”. “Don't try and Google it, it's beyond obscure, you'll never find it... " says Noel, but that’s not entirely true. The song is infectious. It has a child-like quality to the lyrics and melodies and it is the most danceable thing Noel has ever done. I’m guessing Sara approved this one as better than “alright”.
Keep on Reaching is another upbeat song. We have a tub-thumping bass drum soon joined by piano flourishes and more brass. The most curious thing about this song is the backing singers. “Can You Keep A Secret?” they ask us. They give it a certain vibe that makes it sound like a centrepiece from a Broadway musical.
We are much more at home with A Beautiful Dream. This is the kind of song that solo-Noel Has made his bread and butter on previous albums. Although this time, the drums are far more electro sounding. Not quite Aphex Twin, but certainly with a drum and bass quality and the synths are out in force where guitars would normally have centre stage. To inforce this idea that this is not a typical Noel Gallagher album, we have a spoken word part in French. Noel does not speak French and it does sound a little tacked on for the sake of sounding artistic, however that is a minor quibble because sonically – it works.
She Taught Me How To Fly reintroduces us to Noel the pop star. Musically, in some ways this is Noel Gallagher meets New Order. And it works. The lyrics are very rudimentary. But at this point, who cares? It didn’t matter before and it shouldn’t matter now. They fit and it sounds great.
Be Careful What You Wish For gives us a break from all this positively infectious pop music. It’s a chilled out mood piece with a little more audible guitar. Closer to what we would expect from the man. But still, with a little something extra, more texture, more cool vibes. It’s a song that Riverman from previous album Chasing Yesterday pointed towards. It’s not an ear worm like some of the other songs, but in the context of the album it’s a nice change of pace.
Black and White Sunshine has a nice guitar arrangement. Which seems to be built over the same chords as Bryan Adams Run To You. That’s not necessarily a bad thing, because we’re in pop world again. It’s a perfectly functional song but probably not a stand-out on this album.
Next we have an interlude – Wednesday Part 1. It’s jazzy and it’s chilled. A bit like a cool and soothing Massive Attack cut. It’s nice and serves its purpose.
If Love Is The Law is sublime. It’s that word again – pop. We’re given folky acoustic guitar and if some of the previous songs can be described as joyous then this is closer to ecstasy. It’s Motown and Spector including brass and merry percussion. Noels mate Johnny Marr guitarist extraordinaire even turns up to play…harmonica! He turns the joy up to 11 and it’s the best moment on the album.
Next track The Man Who Built The Moon is a dirge. And maybe that’s the point. Every party has a come-down doesn’t it? And this one sounds like the morning after when you have “the fear”. It has a creepy sinister Western-vibe to it and it’s an interesting counter-piece to the ecstasy that precedes it.
The End Credits follow – Wednesday Part 2. Wait, didn’t we just hear this one? Well, yes we did. And that is one of the few issues with the album – the pacing. The interlude comes too late. It makes us feel like we are at the halfway point when really we only have 2 more songs to enjoy. It gives the feeling that our journey is cut a little short. But the best performers always leave you wanting more don’t they?
So, no, this is not a psychedelic odyssey. It is not cosmic pop as I would expect it. It is a top drawer adult pop record, expertly crafted. Holmes and Gallagher have clearly had a great time working together producing something special. The old “Chief” expanding his musical palette and letting in the influence of a different kind of producer. The results are brilliant. 4.5/5
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Post by mimmihopps on Nov 28, 2017 9:12:48 GMT -5
daknox, I've edited your post a bit just to make it easy to read.  Hope you don't mind.
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Post by daknox on Nov 28, 2017 9:17:25 GMT -5
daknox , I've edited your post a bit just to make it easy to read. Hope you don't mind. Yes of course, no problem! I'm surprised you left it on at all, because I admit it is very, very long! Oasis is one thing I can ramble on a bit about! Thanks. First time I've tried an album review! |
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Post by mimmihopps on Nov 28, 2017 9:21:42 GMT -5
daknox , I've edited your post a bit just to make it easy to read. Hope you don't mind. Yes of course, no problem! I'm surprised you left it on at all, because I admit it is very, very long! Oasis is one thing I can ramble on a bit about! Thanks. First time I've tried an album review! No problem. Many people have been posted their reviews on this album, so yours is welcome too. |
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Post by sfsorrow on Nov 28, 2017 9:31:17 GMT -5
This is not a knock and other people have observed this but I do think it's funny that on an album where the idea was all about not doing something that sounds like Oasis, I hear so many Oasis references. The keyboard bit in Be Careful reminds me of Gas Panic! His wordless vocal in that song is also reminiscent of the wordless vocal part in Get Off Your High Horse. The Man Who Built The Moon has bits that remind me of Waiting for the Rapture and, more glaringly, Wonderwall. The end of the middle 8 in Holy Mountain reminds me of Lord Don't Stop Me Now. They were probably unintended and I love them but it is funny that they exist on an album where the producer would interject every time he heard Noel do something that he had done before.
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Post by mossy on Nov 28, 2017 11:37:13 GMT -5
This is not a knock and other people have observed this but I do think it's funny that on an album where the idea was all about not doing something that sounds like Oasis, I hear so many Oasis references. The keyboard bit in Be Careful reminds me of Gas Panic! His wordless vocal in that song is also reminiscent of the wordless vocal part in Get Off Your High Horse. The Man Who Built The Moon has bits that remind me of Waiting for the Rapture and, more glaringly, Wonderwall. The end of the middle 8 in Holy Mountain reminds me of Lord Don't Stop Me Now. They were probably unintended and I love them but it is funny that they exist on an album where the producer would interject every time he heard Noel do something that he had done before. I guess it's hard to disguise a monkey as a penguin. X |
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Post by Deleted on Nov 28, 2017 12:47:17 GMT -5
I think Black & White Sunshine is my favorite song on WBTM. Interesting that many here seem to think it's the weakest one.
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Post by walterglass on Nov 28, 2017 12:49:30 GMT -5
This is not a knock and other people have observed this but I do think it's funny that on an album where the idea was all about not doing something that sounds like Oasis, I hear so many Oasis references. The keyboard bit in Be Careful reminds me of Gas Panic! His wordless vocal in that song is also reminiscent of the wordless vocal part in Get Off Your High Horse. The Man Who Built The Moon has bits that remind me of Waiting for the Rapture and, more glaringly, Wonderwall. The end of the middle 8 in Holy Mountain reminds me of Lord Don't Stop Me Now. They were probably unintended and I love them but it is funny that they exist on an album where the producer would interject every time he heard Noel do something that he had done before. I guess it's hard to disguise a monkey as a penguin. X You guessed it  |
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Nov 4, 2024 5:04:30 GMT -5
Nov 4, 2024 5:04:30 GMT -5