Brilliant, I prefer the vocals to this one than the Beady Eye version. No need for the echo vocal but definitely suits that raw feel. Could have potentially worked for Dig Out Your Soul as a closer, if it followed Soldier On which I've always liked.

Always felt Solider On could have been expanded and lengthened into some dark psychedelic jam at the end. Has something sinister going on which only hints at what it could have been so the band should have pushed it. It would have been epic for it's an album in desperate need for some life at the end.

In my mind, it could have worked as some kind of nightmarish trip followed by The Morning Son that would have been a perfect respite from the heaviness of that. Adding light to the shade.

These are smaller gigs though, I think they can be forgiven for not playing Oasis or Roses tracks. Liam does his own thing to cater to that, and him singing Roses songs would feel a bit odd. It's probably a good idea to see just as a side project and entirely its own thing.

Beyond stupid. Do not tell me you don't believe experts. Or, let me guess, are they all wrapped up in some global agenda conspiracy?

Maybe I listened to it in a good mood! I half expected myself to go back to saying I'd projectile vomited when A Bell Will Ring came on, but no, I listened again a couple of days ago, and yep, definitely a good album!

On a more serious note, maybe its the part of me saying I really miss Oasis. That pining for them has only become stronger because both Noel and Liam's current work doesn't float my boat.

It's the first time I've felt since the split that the post-Oasis work doesn't hold any interest for me anymore.

Surprised at how low the Don't Believe The Truth singles are. Importance of Being Idle is lower than I thought, and that there's no Lyla on that list either.

I remember those tunes being all over the radio back in the day. But then again, I was 14 years old when those were released - prime age for musical awakenings, everything seems massive then so maybe its all 'pure subjective fantasy' as a famous philosopher once wrote...

I think 99% of all Smiths songs were at the very least 8/10 in quality. But Miserable Lie is my least favourite and probably the only Smiths song I don't like. I think it's a horrendous recording, hard to believe they were in a studio paying good money to record that. It's unbelievably tinny and not a fan of Morrissey's shrieking in the second half.

The only song of theirs where I think nothing works.

I think its okay but I do prefer Liam's solo albums over it. I know some criticise the latter solo albums for its industry approach but they're never anything less that 7/10. And you're always guaranteed a few belters per album.

This album is 5 or 6, unfortunately it just doesn't alter my perception that Squire hasn't done anything of note since Love Spreads (and a couple of others off Second Coming). Not that I'm not willing him to, I think he comes off as a sound bloke having listened to him over the last few months, which has been great to hear given we very rarely hear from him over two decades.

Ultimately I'm not the target as I mentally check out of anything Squire/Roses related post-1990, the reviews are decent and for those maybe tired of Liam working with industry songwriters and bigger fans of Squire, I can see why its such a breath of fresh air.

If Part of the Queue was sung by Liam, it would be a contender for greatest Oasis song post-90s. Noel does a fine job, but again, when you have a star vocalist in Liam then just use him.

It's the kind of film that would have been rated Nuts Magazine's Greatest Movie of All Time.

Yeah the tapes were handed over to Spector with Lennon and Harrison's approval. Spector's a knob (even before his murderous tendencies came to the fore) but there's not much anyone could have done with those rough tapes. Contrary to belief, McCartney wasn't too fussed initially with them being handed to him, only until he heard the Long & Winding Road did he blow a fuse. Which is understandable as it goes completely 'Disneyfied' whereas George Martin would have kept things tasteful with more restraint. Then again, a Martin treatment might not have worked, apparently it was only lathered in orchestras and choirs to cover up the poor quality of recording. Although hearing Spector's other production efforts, it sounds like an excuse as he's never been an example of tasteful and restrained production. What's puzzled me though is if Paul was so dead against it, why does he still play it live with the kitchen sink treatment that Spector provided...

Ultimately not too bothered by it though, it's still a flawed but fascinating chapter in The Beatles history. The genesis of something good was there before being abandoned for Abbey Road. For all his control freakery over it, Paul still comes out of it the best given he was the only one hellbent on keeping the thing together. He's the main reason The Beatles continued after Epstein's death. Far more productive in songwriting than the others, George had mentally checked out, John was a smackhead who wasn't writing nearly enough and Ringo just went with the flow. Somebody had to take control of it.

I never see it as their final album, it's more of a bonus feature to the band's catalogue.

Unbelievable article! Really is the holy grail of musical finds!