Manchester Titans Liam Gallagher and John Squire join forces to create a kaleidoscope of noise with no confusion. Some might say that this was inevitable, this generation’s greatest guitarist teaming up with the most recognised voice in modern rock ‘n roll. Their history refers to a young Liam listening to the seminal Stone Roses album and finding it more than biblical.
You’ve got the “Here’s Johnny” moment at Knebworth in 1996, where John Squire attended the Britpop party of the ages and performed on ‘Champagne Supernova’ and ‘I am the Walrus’ with Oasis. Most recently, John joined Liam at Knebworth for Gallagher’s own party in 2022.
A few months after the said Knebworth 2022 appearance, Squire sent Gallagher some demos of freshly written songs; John had got his mojo back after another failed attempt to see whether The Stone Roses could become an item again and a severe hand injury playing basketball that threatened to end Squire’s guitar playing genius full stop. The songs he’d written, recorded in his home in Macclesfield, got Gallagher’s attention. After swapping ideas and thoughts on their mutual love for The Byrds, Beatles and Stones, a collaboration was almost impossible to ignore.
Having previously written a song together (Love Me And Leave Me for The Seahorses), it was time for a full album to take shape. In for the ride are drummer Joey Waronker (he has worked with Beck, R.E.M and Roger Waters on his CV) and producer come bassist Greg Kurstin (Adele and Paul McCartney) and four weeks were set aside in an LA recording studio to get the job done.
What immediately springs out from the speakers is how free and alive Squire and Gallagher sound. Straight off the bat, with the opening track “Raise Your Hands”, there’s a stomping, grooving, driven force of nature through the song whilst Liam sounds as incredible as ever. “Raise your hands; I can see you; we’re alive”, he demands across a sea of Squire, Byrds-like dreamscape. The Na, na, na’s that inevitably follow towards the song’s end will be an earworm for weeks. As an opener, it sets the tone with serious intent.
“Mars From Liverpool” has a chorus begging to be sung by Liam Gallagher. It soars, it lifts any storms, and I can guarantee every parka-loving lad has been singing daily since it was first released. This song belongs to Liam and his voice. Iconic. “One Day At A Time” features more uplifting lyrics: ‘Lord have mercy, it’s going to be alright, Lay down and dream with me….’ with John Squire gently noodling along in the background. “I’m A Wheel” has some early Stones fused blues infused into it; there’s even a nod to Star Wars in the lyrics ‘These aren’t the droids you’re looking for’. It’s a head-nodding, foot-stomping, sleazy attraction.
The first single, “Just Another Rainbow”, is already infamous for its inclusion of all the colours in the rainbow; whilst on first listen, I found it lazy and cumbersome, I’ve grown to accept that line and roll along with Squire and his “Love Spreads” “Revolver” influenced playing. “Love You Forever” also takes a full nod to “Second Coming” era Roses; whilst only three minutes in length on record, you know it’ll be a behemoth for a track when the band plays it live.
Speaking of playing songs live, Greg Kurstin had noted that when they were recording the album, they wanted to make sure it sounded as live as possible. That it sounded like a band, that it sounded raw and honest. Joey Waronker’s drumming and percussion could be described as the MVP of the ten songs. He allows Squire and Gallagher to shine whilst driving the record along ferociously.
“Make It Up As You Go Along” slows the pace down somewhat. It’s a laid-back groove with hints of late Beatles and early Roses goodness. “You’re Not The Only One” has a full-on piano-led, Rolling Stones, 60s jazz vibe coursing through its veins. Squire’s solo takes off, while Gallagher’s vocal takes flight. There are a number of obvious influences on this record, but “I’m So Bored” throws some unexpected Sex Pistols and The Clash at us. The rolling drums, the snarling vocal, and the deepening bass rumbles along wonderfully.
“Mother Nature’s Song” closes the album beautifully. Yes, the title is one letter of the alphabet more than a particular Beatles song, and yes, you can hear Lennon throughout, but it is a truly beautiful song. In a recent interview, John Squire said that hearing the finished recording brought him to tears, and you can hear why. It is one of Gallagher’s best vocal performances; yes, he sounds THAT good.
I think it’s fair to say there’s nothing truly unexpected on this record. It doesn’t and was never going to sound like The Fall. It sounds exactly what you’d expect from an album from the two Mancunian icons. If you’re into your Roses and love a snarling Liam vocal, you will get what you’ve been asking for and more.
This is easily the best work Liam Gallagher has done post-Oasis and the best we’ve had from John Squire post-Second Coming. For those this record is aimed at, it’s an absolute joy. It doesn’t need to impress everyone, but it will impress those it is meant for, and there are a fair few million of those.
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