Beady Eye #1: Bring The Light!

Ik geil op alles met een pick.

Yeah, Liam op nr. 2 bij de 'NME Ultimate Music Icon' wedstrijd

_{Noel op nr. 9, ook erg netjes...}

en op dezelfde dag aangepakt door de madrileense politie omdat hij te luidruchtig was tijdens real madrid-man city

quote:

There's a new record on the way! Beady Eye return to the studio today to begin work on their follow-up album to 2011's "Different Gear, Still Speeding".

Dave Sitek (TV On The Radio, Jane's Addiction and Yeah Yeah Yeah's amongst others) is on board to produce the as yet untitled album which is scheduled for release in 2013.

vrijdag uitgezonden in zuid amerika, zo goed heb ik beady nog niet gezien!!

nieuwe single!!

klik

quote:

Op zaterdag 6 april 2013 08:46 schreef IAmKloot het volgende:
nieuwe single!!

klik

klinkt goed, nu wachten op het album

quote:

Op zaterdag 6 april 2013 08:46 schreef IAmKloot het volgende:
nieuwe single!!

klik

Mja. Aardig.

Klinkt erg goed ja, denk dat het tweede album echt veel beter dan het eerste wordt, en dat was al zeker niet slecht.

Overigens betwijfel ik of het een single is.

Slechts een voorproefje van het reeds voltooide en in juni te verschijnen album.

Naar verluidt is 'Kill Switch' de lead-single welke volgende week maandag in première zal gaan bij Zane Lowe op BBC Radio 1.

het gaat de goede kan op met Beady Eye, liedje wordt steeds beter

quote:

Liam Gallagher ‏@liamgallagher 22m

Ballroom Figured
Start Anew
LG x

Liam Gallagher Liam Gallagher ‏@liamgallagher 1h

I'm Just Saying
Don't Brother Me
Shine A Light
LG x

Liam Gallagher Liam Gallagher ‏@liamgallagher 2h

Second Bite of The Apple
Soon Come Tomorrow
Iz Rite
LG x

Liam Gallagher Liam Gallagher ‏@liamgallagher 3h

Flick of The Finger
Soul Love
Face The Crowd
LG x

Alle nummers op het nieuwe album neem ik aan, typisch Liam om dit op Twitter bekend te maken

dus geen kill switch

Shine A Light, Don't Brother Me, de inspiratie is weer duidelijk

ShortList’s Hamish MacBain discovers how “the maddest bastard in thick-rimmed glasses since my grandma” turned Liam Gallagher and Beady Eye from Sixties fetishists into psychedelic futurists

As ever, there are many things about which Liam Gallagher is currently “buzzing”. There’s his son Gene’s continued prowess on the drums (he’s now in a band), and the fact he was last month given a set of sticks by Reni from The Stone Roses. There’s today’s “mega” photoshoot. There’s Beady Eye’s new bassist Jay Mehler – formerly of Kasabian, absent with chicken pox – whose arrival he declares to be “like Van Persie going to United”.

There’s Suede’s latest single (“F*cking tune… I bumped into Brett at my kid’s school. I don’t mind him, he used to have a pop at me and I used to pop back but you get older: at least I’m not cuddling Damon Albarn and doing f*cking gigs with him”). There’s – still, always – The Stone Roses, who he saw in Dubai a few weeks ago. And while he’s not buzzing about Palma Violets – “I saw a picture, the guy was wearing a weird shirt” – he is all over Justin Bieber.

“Anyone who goes on two hours late is f*cking right in my book, man,” he raves, as the shoot is finishing up. “All these so-called rock bands that sit backstage going, ‘Hey, let’s wait 15 minutes.’ F*ck that, wait two hours and 15 minutes! He’s kicked the f*cking arse out of it – no one will beat that, ever. So get off his f*cking back, man: I am a Belieber!”

More so than any of these things, though, Liam and the rest of Beady Eye – equally enthused-by-life guitarists Gem Archer and Andy Bell, quiet drummer Chris Sharrock – are today excited about their new tune Flick Of The Finger which, if the world hasn’t ended, will go live a few days after you read this. Deriving from an old Liam demo of a song called Velvet Building – “It was on cassette, that’s how long ago it was,” says Gem – it was briefly mooted for the aborted, Death In Vegas-produced Oasis album in 2004, but has now been completely reinvented and retitled, with new words by Andy and Gem, a bombastic brass section and… well, let’s hand over to its creators, shall we?

Andy: “We’re gonna have to start the gigs with it. Got to. It’s a calling card.”

Liam: “It’s stomping, in-yer-face. It’s just mental. To me, it’s like a tsunami just waiting to f*cking come at you, and then it gets you.”

Gem: “It’s like Bruce Lee, on a surfboard, in a tsunami…”

Chris: “…with brass. Burning sage.”

And when you do hear it, and wonder who and what the ranted spoken word bit is all about, then here’s the sketch: it’s taken from Tariq Ali’s book Street Fighting Years: An Autobiography Of The Sixties, with the words – “whose weapons rapidly developed by servile scientists will become more deadly until they can, with a flick of the finger, tear a million of you to pieces” – originally those of 18th-century French political theorist and “friend of the people” Jean-Paul Marat.

Except that now they’re spoken by Fonejacker.

Gem: “We needed to re-record it anyway, and Kayvan [Novak, the show’s creator] came on board to do it. I just love that it’s this heavy, heavy piece of wordage, but delivered by Fonejacker.”

Liam: “So that’s the only guest appearance on the album – Fonejacker. And the first thing that people will hear of our new stuff is his voice: ‘Say what you believe.’ So he’s lucked out there, the little f*cker!”

A TOUGH START

If Beady Eye are happy and excited now, this was not the case a year and a half ago. With their debut Different Gear, Still Speeding not having connected in a way they would like – “At the end of the day, people just didn’t f*cking buy it,” Liam shrugged to me a while back – and having left their management (who also manage Noel), they found themselves playing a last few shows that, at times, Liam says, “Were absolutely f*cking painful.”

“At a lot of them, I was having a really bad time,” he says. “I mean, we were great, but it was just…

Gem: “Situation and circumstance, man. People were saying we’d never make the end of the tour. We were like, ‘We f*cking will!’”

By December 2011, Beady Eye had made it to the end. But they knew it was time to regroup. They would not play live again until June 2012, and even then it was just a handful of support slots with The Stone Roses. Still, at these shows they appeared revitalised: partly due to the rest, partly due to new management, partly because they had relented slightly on their decision to not play Oasis songs, with the crowd at Heaton Park treated to Rock’N’Roll Star and Morning Glory: songs written by Noel Gallagher but – as they say in showbiz – made famous by Liam Gallagher.

“The way I see it, it’s about giving people value for money,” he says. “It’s hard times out there, and if people want to hear a couple of f*cking tunes, is it doing any c*nt any harm? We’re not doing it to get into arenas and we’re not doing it to get out of sh*tholes. And, y’know: if people don’t want to hear them then… we’ll still do them!”

Andy: “We were definitely pretty up at that point. By then, we had about 12 new songs ready, too. We could have gone in the studio then, but we thought, ‘Let’s get a few more tunes written.’”

Liam: “We knew the next album had to be flipped on its head. We didn’t know how to do it, we didn’t know where to start by doing it, so at that point all we felt we had to do was write some good tunes. But we just needed a bit of f*cking help. The last record, the producer weren’t right, he bailed, Gem ended up mixing it and it turned out great for what it was. But we needed a great producer.”

Enter a man described by Liam as “the maddest bastard in thick-rimmed glasses since my grandma”. As well as being the main architect behind the adventurous, some-might-say-wilfully-difficult sounds of his own band TV On The Radio, Dave Sitek is feted for his innovative, forward-thinking production on albums by Brooklyn, New York’s avant-garde elite (Yeah Yeah Yeahs, Liars), and his free-jazz influenced remixes. He once made a space-rock album of Tom Waits covers with Scarlett Johansson. So perhaps not a producer you would expect to be working with a band whose last album contained a song called Beatles & Stones, that sounded quite like The Who and The Kinks.

Andy: “People will talk about him being from one world and us being from a different world, but actually we’re pretty similar. We agreed on a lot of stuff musically: the stuff we liked, stuff we were playing in the room, for fun.”

Gem: “Initially he was like, ‘Why do they want me?’ But we sent him some tunes and he went, ‘Oh, I get it: they want to go there.’ And he wanted to make some rock’n’roll, as he put it. So it was a leap of faith that worked.”

Liam: “I love him: he’s an outlaw. He definitely didn’t come over to London to see the Queen, know what I mean? He came to make a good record. When people mention ‘experimenting’, the thing about that word, it makes it sound like they’re really f*cking trying hard. But we didn’t really try that hard, man. We just laid it on the line. He was like, ‘I’m not here to make demos sound better, I’m here to f*cking toss it up in the air and see what happens.’ And he did, but that’s as far as experimenting went. We weren’t sitting there going ‘Right, we need to do more of this kind of thing’ or whatever, because I find all that sh*t f*cking hard work.”

BE: HERE NOW

Whatever the process, the results, anyone would concede, are very different-sounding. The songs are

still swaggering and direct, but now there are many layers of colour, with tunes taking unexpected twists at every other turn. And Liam’s voice is a revelation: mixed dry, with barely any effects on it, so you feel he’s right up against your forehead. “It’s how I sound round the house or on the back of a camel or whatever,” he says. “I’m sick of idiots saying I can’t sing. Hopefully now they’ll get off my back.”

With the first time Liam and Sitek laid eyes on each other being Day One at State Of The Ark Studios in Richmond, it is a marriage that was helped, too, by the fact both parties were barely aware of each other’s legacies. There was not the reverence a British producer might have for four-fifths of Oasis.

Liam: “It weren’t all f*cking rosey, that’s for sure. We had a couple of ding dongs, definitely. Not fisticuffs, but there was a lot of…”

Andy: “…push and pull. We pushed him and he pushed us.”

So was there material you brought in and he went, ‘No thanks’?

Liam: “Yeah, without a doubt. And you know how that goes down. He’d be, ‘I’m not having that’, and I’d be going, [aggressively], ‘Well, I f*cking am.’ So there’d be a bit of bullfighting going on. And then he’d go off and conduct ‘a musical experiment’ and you’d be like, ‘Hmm, that don’t sound too bad at all, actually. I can go with that.’ And there were others where we were like, ‘You’re losing your mind, we need to get back to Hare Krishna land.’”

Andy: “Sometimes we won, sometimes he won. But the best person won each time for the tune.”

Liam: [Adopts comedy posh voice] “Guys, the record won. Music won!”

The record, by the way, is called Be. Liam wanted to call it Universal Gleam, but was vetoed by “certain people” (Chris). He concedes that you could have “gone into a right old coked-up bullsh*t waffle about that, but with this you can’t really speak much about it. It just is.”

He adds, “My theory is that it’s gonna have Be on the cover, and then on the back I-E-B-E-R. [Stands up, shouts football chant-style] Biiiiieee-ber! I’ve got his f*cking back, man.”

Why are you going on about Justin Bieber so much today?

Liam: “I don’t f*cking know, do I? It’s better than going on about The Strypes, or any of them other f*ckers, innit?”

FAMILY TIES

At the right of this page, there’s more details about specific songs on Be,

but one warrants a slightly lengthier discussion: a spaced-out, electric sitar-assisted Liam ballad you might first hear as Don’t Bother Me, but it’s actually entitled Don’t Brother Me.

So then, Liam: why would you go and call a song Don’t Brother Me?

Liam: “Well, it just sounds shi*t, Don’t Sister Me, doesn’t it? Especially when I haven’t got a sister.”

You must know that it makes it pretty clear who it’s about, and that people will pick up on it.

Liam: “Yeah, yeah, people will pick up on it, but I’m ready to go there. So yeah: it’s about Our Kid.“

You’re prepared for the fact you’re now going to continue to be asked about Noel for the next year and a bit of your life?

Liam: “But the tune is the tune, I love the tune more than I love having to go and speak about it. I could’ve tried to call it to something else, but that’s what it is. [Sings] ‘Don’t brooo-ther meeee.’ And that is it. It’s a lovely f*cking song.

I love the song. I’m not gonna change the title to make my life easier.”

Some of the lines in it – ‘Come on now, give peace a chance’; ‘In the morning, I’ll be calling, hoping that you’ll understand’ – suggest it might be an olive branch?

Liam: “Well, as Andy said to me, it’s a bit contradictory. There’s a load of love in there, and a load of f*cking…”

One verse goes: “I’m sick of all your lying/Scheming and your crying.”

Liam: “Yeah, but the lying and the scheming and the crying might not be about him. It might be about someone around him. Or it might be about me. He might be sick of my scheming, lying and crying. But anyway, there’s a lot of love in there, but there’s also a couple of – humorous, I think – digs. There’s nothing malicious in there, ’cos it’s not in my nature. I wish I could write a malicious one – you’d f*cking know about it if I could – but I couldn’t.”

What do you mean you couldn’t?

Liam: “Ahh, I’m joking, man. But I couldn’t. And You, You C*nt sounds shit, doesn’t it? Plus he’s heard that one before. Everyone’s heard that before.”

Gem interjects: “Life isn’t black and white, is it? It’s many shades of grey.”

Liam: “The best line for me is ‘Did you shoot your gun?’”

Why?

“I just think it’s cool. He’s always on about shooting guns, isn’t he? If I Had

A Gun... Well, did you f*cking shoot it?”

Gem: “See, I never even got that.

So that’s the point of it all, isn’t it?”

Liam: “And there’s ‘You’re always in the sun/With your Number One.’

The Sun newspaper… There’s loads of little things going down in there!”

You bumped into Noel after you played the Olympics, didn’t you?

Liam: “I did, yeah. Well, he bumped into me.”

How was it?

Liam: “It was all right. I wasn’t that p*ssed actually, I’d only had like… four bottles of champagne.”

Gem: “I knew that was coming.”

Liam: “I thought I was pretty pleasant, you know what I mean? I said, ‘What do you make of that then, you f*cker?’ And he went, ‘Uh, yeah, it was all right.’ Then I said, ‘I seen your mates there, they said to say hello,’ and he went ‘Who?’ and I said, ‘Take That,’ and he went, ‘Urggh.’ That was it, and I turned me back and had a drink and then everyone was going, ‘Here y’are: speak to him,’ and I said, ‘Nope, I’m f*cking having a drink,’ and that was it.”

But you’re saying it was relatively cool?

Liam: “Well, it wasn’t Jerry Springer or Jeremy Kyle. It was more Montell.”

You mean as in Montell is a bit less scratching-each-other’s-eyes-out…

Liam: “Montell is cool as f*ck. At least he knows what he’s talking about. D’you know what I mean? You can’t have one chav telling another chav to wind his neck in, can you? Montell’s a f*cking dude: he’s been there, seen it. And he wears f*cking polo necks in front of a live studio audience.”

This seems as good point as any to leave “the Noel bit”, doesn’t it?

EYEING THE FUTURE

As we finish, Beady Eye collectively move straight into looking at video treatments, sat round a table, getting excited again. Gem shows me the artwork for the record on his phone – from a shoot for Seventies magazine Nova that he rightly says “won’t get into Tesco”.

Andy talks about how new bands such as The Strypes and Temples, ironically, will now sound retro next to his band’s new album, but even though Beady Eye’s second is an adventurous step into more leftfield territory, he’ll still “be gutted if it doesn’t go to No1”. Liam talks about “some interesting gigs” that they have coming up. There are ideas everywhere, and the definite sense of a band refreshed and reinvigorated, looking forward.

Beady Eye needed to roll the dice, and they have. It looks like it might just pay off.

Be is released on 10 June. Flick Of The Finger gets its first play on Zane Lowe’s Radio 1 show on Monday

Don't Brother Me bevat een lijn die als volgt gaat, 'Did you shoot your gun?', refererend aan 'If I Had A Gun' natuurlijk. Dit soort verwijzingen doen me denken aan de Lennon / McCartney strijd begin jaren '70

don't brother me zal wel weer bol staan van de typsche liam poezie

quote:

‘Come on now, give peace a chance’

De Lennon-tekstgenerator stond ook weer aan...

Don't Brother Me

"In het magazine vertelde Liam ook over de laatste aanvaring die had met zijn broer. Na het optreden van Beady Eye op de openingsceremonie van de Olympische Spelen, kwamen ze elkaar tegen. ‘Ik zei hem dat ik hem de groeten moest doen van zijn vrienden. ‘Van wie', vroeg hij. Waarop ik ‘Take That' antwoordde. En weg was hij', besluit een lachende Liam"
Typisch

Sample van Second Bite of The Apple.

http://www.amazon.co.uk/S(...)nd+bite+of+the+apple

Klinkt hééél lekker

http://www.amazon.co.uk/dp/B00CI2T6WG

nog een preview

nieuwe single, raar nummer

FOOKING CLASS

quote:

Op maandag 29 april 2013 22:29 schreef Your_mother_in_law het volgende:

Beady Eye - Second Bite of the Apple

FOOKING CLASS

echt?

Ik vind het zeker wel een goed liedje, kan die nieuwe stijl in BE wel diggen.

Flick of the Finger ook al, nu dit, als hele album deze kant op gaat wordt het puur rocken live

Flick Of The Finger bevalt me beter, maar ik moet toegeven second bite begint te groeien. Lekkere groove, alleen hadden ze wel iets meer aan de tekst mogen werken

Het bevalt me allebei wel. Geen simpele Oasis-kloon meer .

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Op maandag 20 mei 2013 17:45 schreef IAmKloot het volgende:

Beady Eye - Start Anew (acoustic) OUI TELE (17/5-13)

Als ik dit zo weer hoor, godverdomme, WIL. LIVE. ZIEN. <3

Ik vind het helaas allemaal wat tegenvallen. Kijk meer uit naar een eventueel tweede album van Noel.

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Op dinsdag 21 mei 2013 09:44 schreef TNA het volgende:
Ik vind het helaas allemaal wat tegenvallen. Kijk meer uit naar een eventueel tweede album van Noel.

dat zou nog wel een jaar of 3 kunnen duren

Start Anew

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Op dinsdag 21 mei 2013 16:28 schreef IAmKloot het volgende:

[..]

dat zou nog wel een jaar of 3 kunnen duren

Dat is zo. En het is eigenlijk ook een zwaktebod van mij om de twee te blijven vergelijken.

Toch ben helaas niet zo te spreken over het nieuwe geluid. Liam is op zichzelf goed bij stem, maar zijn vocals komen m.i. toch het beste tot hun recht bij de meer snerende nummers, zoals Four Letter Word.

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Op dinsdag 21 mei 2013 17:19 schreef TNA het volgende:

[..]

Dat is zo. En het is eigenlijk ook een zwaktebod van mij om de twee te blijven vergelijken.

Toch ben helaas niet zo te spreken over het nieuwe geluid. Liam is op zichzelf goed bij stem, maar zijn vocals komen m.i. toch het beste tot hun recht bij de meer snerende nummers, zoals Four Letter Word.

van wat ik tot nu toe heb gehoord ben ik erg onder de indruk van de stem van liam

http://www.nme.com/news/beady-eye/70508

komt er eigenlijk een 'oasis 2015' of is dat al weer over?

Heb het genoegen mogen smaken om de plaat te luisteren, en ik ben best onder de indruk. Of dat nou komt door mijn lage verwachtingen van Beady Eye of dat het echt gewoon een goeie plaat is weet ik nog niet..Soul Love en Start Anew zijn het meest blijven hangen, schitterend

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Op zondag 26 mei 2013 20:19 schreef snoepsoep het volgende:
komt er eigenlijk een 'oasis 2015' of is dat al weer over?

Noel wil dat niet meer.
Voor de rest vind ik de nieuwe single erg goed klinken, ben benieuwd naar de rest van het album.

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Op maandag 27 mei 2013 17:10 schreef frits22 het volgende:

[..]

Noel wil dat niet meer.
Voor de rest vind ik de nieuwe single erg goed klinken, ben benieuwd naar de rest van het album.

ik denk niet dat ik het ga kopen.

Soul Love

Geweldige performance bij Jools Holland nu, vrijdag volledige uitzending. Vader én zoon Sharrock op drums!



[ Bericht 72% gewijzigd door Aisumasen op 30-05-2013 00:36:39 ]

quote:

Op woensdag 29 mei 2013 23:04 schreef Aisumasen het volgende:
Geweldige performance bij Jools Holland nu, vrijdag volledige uitzending. Vader én zoon Sharrock op drums!

Klonk best goed vrijdag eens verder kijken