Liam Gallagher & Gem Archer join Christian O'Connell tomorrow morning on his breakfast show from 8am (UK Time.)
To listen live click here.
Visit my newly launched Beady Eye fan site www.standingontheedgeofthenoise.com by clicking here.
Andy Bell
Beady Eye
chris Sharrock
Gem Archer
Liam Gallagher
Liam Gallagher & Gem Archer join Christian O'Connell tomorrow morning on his breakfast show from 8am (UK Time.)
To listen live click here.
Visit my newly launched Beady Eye fan site www.standingontheedgeofthenoise.com by clicking here.
Christian O'Connell Interview With Beady Eye Tomorrow Morning
Liam Gallagher & Gem Archer join Christian O'Connell tomorrow morning on his breakfast show from 8am (UK Time.)
To listen live click here.
Visit my newly launched Beady Eye fan site www.standingontheedgeofthenoise.com by clicking here.
Andy Bell
Beady Eye
chris Sharrock
Gem Archer
Liam Gallagher
Beady Eye interview with Alexa Chung for MTV.
Thanks to frjdoasis
Visit my newly launched Beady Eye fan site www.standingontheedgeofthenoise.com by clicking here.
Beady Eye Interview With Alexa Chung
Beady Eye interview with Alexa Chung for MTV.
Thanks to frjdoasis
Visit my newly launched Beady Eye fan site www.standingontheedgeofthenoise.com by clicking here.
Andy Bell
Beady Eye
chris Sharrock
Gem Archer
Liam Gallagher
Teaser broadcast from 'Freshly Squeezed'before the main session broadcast later this evening at 11:45pm on Channel 4 tonight (UK Only.)
The 30-minute show will feature Beady Eye performing four songs plus an interview with the group.
Visit my newly launched Beady Eye fan site www.standingontheedgeofthenoise.com by clicking here.
Watch Beady Eye's 'The Roller' From Abbey Road Studios Now
Teaser broadcast from 'Freshly Squeezed'before the main session broadcast later this evening at 11:45pm on Channel 4 tonight (UK Only.)
The 30-minute show will feature Beady Eye performing four songs plus an interview with the group.
Visit my newly launched Beady Eye fan site www.standingontheedgeofthenoise.com by clicking here.
Beady Eye
Beady Eye have announced they will be heading to Denmark this May when they play at the Jelling Festival on Sunday May 29th.
The following day they play Hamburg’s Grosse Freiheit.
Tickets for the festival are close to sell out, but can still be obtained now through billetlugen.dk and 0045 70 263 267.
The festival will mark the band's first visit to Denmark.
Source: www.beadyeyemusic.com
Visit my newly launched Beady Eye fan site www.standingontheedgeofthenoise.com by clicking here.
Beady Eye Head To Denmark
Beady Eye have announced they will be heading to Denmark this May when they play at the Jelling Festival on Sunday May 29th.
The following day they play Hamburg’s Grosse Freiheit.
Tickets for the festival are close to sell out, but can still be obtained now through billetlugen.dk and 0045 70 263 267.
The festival will mark the band's first visit to Denmark.
Source: www.beadyeyemusic.com
Visit my newly launched Beady Eye fan site www.standingontheedgeofthenoise.com by clicking here.
Andy Bell
Beady Eye
Liam Gallagher
Julian Marszalek meets the first of the Gallagher brothers (and his trusty second in command) out of the post Oasis starting gates and finds him in combative mood.
Standing with his hands clasped firmly behind his back, Liam Gallagher stares from behind his fringe to give an almost withering look of contempt. His mouth gives off the merest hint of a sneer but one suspects that he feels that it isn’t worth the bother as he finds himself feeding a hunger that’s clearly palpable. He stands like an immovable rock impervious to what’s going on around him. He’s at the centre of the universe and right here, right now, nothing else matters other than the music that he’s bringing a voice to.
That voice… one part John Lydon sneer to two parts John Lennon nasal delivery is about to set the country alight. These are the anthems that will soon be on everybody’s lips, a soundtrack to hedonism, freedom and late nights that morph into early mornings and beyond…
…and so much for The Quietus’ first encounter with Liam Gallagher back in May 1994 at Windsor’s Old Trout when Oasis, then touring ‘Shakermaker’, were building up a rabid fanbase thanks to live shows that combined instantly accessible songs with a seductive sonic ferocity that hadn’t been heard since the days of The Jesus & Mary Chain.
Ah yes – The Jesus & Mary Chain. Two brothers at war who finally fell apart both painfully and publicly and it’s a story that comes to be repeated as Liam and older brother Noel find their relationship and band disintegrating as internecine fighting finally brings the Oasis tale to a sad and sorry end. Like the subsequent albums post (What’s The Story) Morning Glory, their 2009 demise may have proved predictable but the undeniable truth for both believers and haters was that by reaching the conclusion of this sprawling saga, a large entertaining hole has been left wide open and gaping on the cultural landscape.
The Quietus has found itself in the presidential suite of a Marylebone hotel to meet both Liam Gallagher and guitarist Andy Bell as they ready themselves to launch their post-Oasis band, Beady Eye – formed with erstwhile band mates, guitarist Gem Archer and drummer Chris Sharrock - with their debut album, Different Gear, Still Speeding and inaugural UK tour.
Contrary to his hell-raising image, Liam Gallagher proves to be a charming and genial host. Relaxed and at ease with himself, he’s possessed of a fierce self-belief and self-awareness that’s frequently overlooked in the column inches that he generates. His intelligence is evident as he considers the questions that are put to him and the frankness of his answers is refreshing and, at times, shocking. It’s this strength that can be a weakness. Unlike many artists of his stature who are adept players at the publicity game, Gallagher refuses to censor himself and the pain caused by the implosion of the band he helped create means that he lashes out at his brother in the most provocative (and occasionally unpleasantly misogynist) terms. But his anger seems to be directed solely at his brother and himself.
His blue eyes hold your gaze and there’s an ever-present sense of danger about his demeanour which probably goes some way to explain why two music PRs sit at opposite ends of the room like a pair of referees in case it all kicks off.
Of course it doesn’t and the interview is punctuated by much laughter. The passion that Gallagher and Bell exude when discussing their new musical venture is at the heart of what fuels them. They’re acutely aware of what they’ve created and its place in the pop firmament and their hunger for success is no different from when they both started off their respective bands all those years ago…
The Oasis split has been fairly well documented elsewhere but how did you feel immediately after the split? Did you feel relieved or did you feel apprehensive about the future?
Liam Gallagher: No, not relief. But that’s life and I could kind of see it coming. It had been brewing for a bit and Noel was acting like a fucking woman, like a bitch and I was acting like a dickhead. But I like to think that there’s a reason behind my fucking actions because I like to keep it clean. There was a lot of shit going down and a lot of shit being written about my band and shit in the press and all that and Noel being so fucking close to the press. He was having a word with some of his friends in higher places and if it was me, I’d be fucking pulling knobheads up and saying to journalists, 'Wind your fucking neck in a bit.'
But you know, his mates are more important than his brother or his fucking band so fuck him. I’m not having it. You know, people who slate me in the press and coming back to my dressing room and drinking my fucking beer? Fuck that; it doesn’t work like that round my way, mate. You slag me off you don’t come to my fucking dressing room and drink my beer. That was basically it. It’s not all about me drinking or bollocks like that; it takes two to tango, you know what I mean?
But how did you feel immediately afterwards?
LG: Relief, to be quite honest; I’ll give you that. Shock as well but I knew that it was coming. And now, I’m very glad that it’s fucking all over. Which is a shame but nothing lasts forever. Judging in hindsight, which is the best thing, what’s grown out of it is Beady Eye and we’re making fucking music.
Andy Bell: I was on the sidelines of Liam and Noel’s issues but at the same time I felt like we’d all been sacked from Oasis. Things were finally taken to the next level. Oasis had been such a massive force that you end feeling like you’d been sacked.
LG: It was like a Noel solo thing anyway. He was doing everything. You’d say something like, “Like try this” and you’d get a look as if to say, “What the fuck are you talking about, you clown?” and that doesn’t wash with me, man. He might have written the tunes but I sang them and I like to think that I sold them. I stood my ground, he stood his ground and two worlds collided.
AB: It was the natural end to the band. Oasis had a life span and it wasn’t going to last forever. It wasn’t like one of those bands like the Stones. It was always going to do one in the same spirit that it started. When I was in the band we did a little tour without Noel and there were always some issues and madness going on. From that point on that was the way that it hobbled along. In saying all this, the last tour we did was the best we’d ever done. As a live band we got better and better and on the stadium shows on that tour we played really, really well. But within the band, something had to go at some point.
How soon after the break-up did you decide to form Beady Eye?
AB: We went back to the hotel [after Noel walked out] and sat around drinking beer and we were there! The band members of Beady Eye were there so it didn’t take much of a leap to go, 'Let’s do something.'
Andy, was there ever point of loyalties being tugged because my understanding is that Noel brought you into the band…
LG: [interrupting] See, this is the thing. Noel’s getting credit for [drummer Chris] Sharrock, Gem, Andy and everyone else and I get credit for all the people that got fucking sacked. Noel didn’t just go, 'Right, I’m going to get Andy Bell!' because he’d have to come through me. Both of us hired people and if anyone sacked anybody then it was Noel Gallagher. He sacked [drummer Alan White] Whitey, he sacked Bonehead, he sacked Guigsy [bassist, Paul McGuigan] and whoever else it fucking was but the hiring came from both of us. Noel Gallagher hired everyone? Fuck off, mate!
AB: Look, Noel walked out on the band. He didn’t say, 'Andy, do you fancy heading off with me?'
LG: And a statement was made pretty fucking quickly that night. It wasn’t like a week later, it was basically, 'I’m outta here!' Bosh! 'Here’s my statement.'
Was there any question of you stopping playing?
LG: Never, ever. We’re here to make music, man. Noel Gallagher’s not going to stop us. Fuck that! He’s the brother of a brother in a band. If he wants to walk and doing his fucking thing then fine, man. No one's gonna stop us making music because of Noel Gallagher. Fuck that! I like to think that we’ve got it in us.
Given the way that you described the working practices of Oasis, how much freedom does Beady Eye afford you in comparison?
AB: Beady Eye is a democracy and we all bring in ideas and we all bring in songs and of course we have complete freedom. That’s the thing that has to be mentioned in comparison to Oasis. That doesn’t mean that we didn’t have freedom in Oasis because we did. The dynamic in Beady Eye is really healthy.
LG: We’re all doing what we want to make this band great down to the album cover, our interviews, our videos, our tunes and we just fall into it. It’s a band and that’s what I like. We’re all watching each other’s backs. If it fails then we’ll all carry that weight but if it becomes a big success then we’ll all rejoice in that.
Oasis notched up some incredible milestones – Knebworth, multi-nights at Wembley Stadium, cracking the US Top 10. What do you want to achieve with Beady Eye? Can you match that? Do you even want to match that? Are you ambitions now different?
AB: Totally different. Our ambitions are about music, really.
LG: Yeah, and to still be making music. We’re thinking about it and thinking that we can be great. I like to think that we could start where we left off but it’s still early days.
AB: We’re playing different kinds of songs and where trying not to trade off the Oasis thing. The only way that we’d be trading off of it is if we’d play those songs which fucking isn’t much fun. When Noel Gallagher does it, he’ll have the whole Oasis back catalogue and that’s cool but we’re a different band and we’ve got our own bunch of tunes and that’s it.
LG: We don’t need those fucking tunes, you know what I mean? But Beady Eye’s [success or failure] won’t be through a lack of trying. Without a doubt, because we’re playing great, the songs are great and some of the songs here stand up to anything that Oasis have ever done. And the next [album] will be. But it’s not in our hands, it’s in the hands of the people upstairs but we are shit hot and we’re as good if not better than Oasis.
So what are your musical ambitions?
LG: Just to get out there and play, one tour at a time, man. Smash fuck out of this tour, let people know that we’re not dicks and that we can play our instruments and that the album’s great and that we can play live; get out to the festivals and fucking be the talking point of that festival. I’m not going there to play second fiddle to anyone. Whether we do or not is another fucking thing but we’ll be going in there like we fucking own it and not in an arrogant way but saying, 'This is our fucking thing' and be the talking point. And that’s it and then go back and start the new record and do the same again.
Do you feel under any pressure at the moment?
LG: None whatsoever. There’s no pressure. We’re doing what we want and if we don’t want to do it then we won’t do it.
You’ve both started bands before from ground level up. How does forming Beady Eye as established musicians compare?
AB: It’s very similar. You know, we’ll demo a tune with just the band in the room. It’s not posh – you’re doing it because you want to do it when you haven’t got a deal. Even though we had the wherewithal to start our own label doesn’t change the fact that we started this on a “starting-in-a-room” level and these are all our tunes and that for me really reminds me of that time in my life [when Ride started].
LG: That same hunger is there, without a doubt. Once we’re outta here and back in that rehearsal room we’re like everybody else except we’re that little bit fucking cooler, man. It’s definitely happening.
AB: When you go to a band’s gig, if they’re going to be shit then they’re going to be shit. It’s the dynamic between the band members that makes for a great gig. And the audience is a massive part of it and that room is what makes the gig and if we don’t stand up then we’ll get found out.
LG: We want to go round the world and play all these places, you know? We want this to be a massive success but at the same time because of the way of the world and that, it won’t be a let down if it doesn’t. I’m not going to be sitting there going, “Fuck!” We’ll just get up and make a new record. This is what we do. We’re not going to change our thing just because we’re not hip at the moment or anything but we’re going to stick to our guns. We want to be big, man. But if we were a younger band and it didn’t happen then your world would be shattered a bit more.
AB: We have different values now. Playing Wembley Stadium isn’t an end. We’re chasing that great record.
Your first release, ‘Bring The Light’, wrong-footed a lot of people, didn’t it?
AB: I didn’t think that it was going to be so shocking. In the context of the album it makes sense.
LG: I think [the naysayers] would’ve moaned whatever we put out. You put an Oasis record out and they’re going to fucking moan. I’m glad it’s out and I thank the Lord for tunes like that and it turned me on and the guys are having a great time. If people don’t get it first time around, so be fucking it. We got it first time around. That’s the music that we like but we don’t drive around in Cadillacs. You see how my hair is? I don’t do it like that for the interviews and then afterwards fucking grease it back! That’s music, man. That’s Elvis; that’s Jerry Lee Lewis; that Eddie Cochran. That’s the bones of it but to put a whole album of that out would be fucking ridiculous.
The press have recently been putting it about that rock music is dead.
LG: It probably is in places. But it’s not round our way. It’s as simple as that, really.
AB: It’s not really in the charts much though, is it? But it reminds me of ‘89/’90 because it was a similar thing then. It was all massively pop and Stock, Aitken and Waterman were viewed in the same way that X Factor is now.
LG: It’s nice to have a Number 1 record and a Number 1 single but it doesn’t matter so long as we can go out and do mega-storming gigs, you know? That’s all that matters to us. We’ve been round the block and we can take these things on the chin a bit. Just because the single goes in at Number 31 or whatever doesn’t mean that we’re a shit band. It’s just that the times have changed and we haven’t.
AB: Beady Eye are connected to rock & roll’s primal howl. Our music has got that 50s spirit, that 60s spirit and it’s got punk rock spirit but when we do it, it’s retro and when The White Stripes do it, it’s modern. It’s all to do with people’s perceptions of your band.
LG: It’s all about fucking choice, man; if the music’s there, then great. If no one’s making the music then it’s fucking dead but if it’s there then there’s always fucking hope. As long as people can say, 'Right, I’m going to a gig tonight!' then that’ll do me. It’ll never die.
AB: You know when you get fallow fields and you leave them for a year? Then you get a good crop and rock’s like that. It goes underground and when you least expect it you get a really good crop.
Do you find it a worrying development that something like Mumford & Sons walk away with Best Album at the Brits?
LG: I think it’s alright but they were fucking ashamed about winning and that’s the fucking sad bit. 'Oh, we shouldn’t be here!' Then what did you join a fucking band for then? They bow their heads down going, 'Oh, we don’t deserve it' like a fucking dick. What’s that about? You must have seen it before so don’t pretend like you’ve just come out of a cider apple factory.
AB: I’ve got nothing against them but I get the feeling they went back to their dressing room and went, 'YEAH!' [mimes air-punching].
LG: Still, it’s better than Take That, isn’t it?
Let’s talk influences. Liam, you grew up in Manchester in the 80s and my understanding is that electro and hip-hop was everywhere. Did that make any impact on your life and if so, why didn’t those influences manifest themselves in your music?
LG: ‘Cause I’m not into it now. You get the odd tune coming out every now and again like Wretch 32’s ‘Traktor’. It’s like So Solid Crew but I think they’re better. I like it. One tune and I thought, I’m having that! It’s a sound that does something to me but I won’t be buying the album.
AB: Dance music and hip-hop culture comes into rock music all the time and it’s a free-flowing thing but when it comes to naming your favourite albums of all time, you’ll say Hendrix or The Beatles because that’s where your heart is.
LG: I’m well aware that our new album has been done before. It ain’t nothing new but it’s fucking great. I’m well aware of people going, 'Well, you know, you could’ve put some fucking beats there' but I’m not going to do that for the sake of it. That’s not our fucking thing. We’re quite happy doing the rock & roll thing.
AB: It’s not about copying. Half the bands who want to be modern are copying each other and they’re not authentic in the way that I appreciate. I’m authentic, Liam’s authentic and we’re an authentic band because we do what we feel. We don’t feel constrained by, 'Oh, we might get this if we do a song this way.' We do what we naturally do and it makes us feel good and we’ve got the balls to stand up and do it.
LG: We just like what we do. I heard that fucking Radiohead record and I just go, 'What?!' I like to think that what we do, we do fucking well. Them writing a song about a fucking tree? Give me a fucking break! A thousand year old tree? Go fuck yourself! You’d have thought he’d have written a song about a modern tree or one that was planted last week. You know what I mean?
You’re about to release Beady Eye’s debut album and inevitably critical knives are being sharpened. Does criticism sting after all this time?
LG: Everyone’s got every right to criticise our record. Everyone’s got every fucking right to go, “Oh, it’s The Beatles, it’s The Stones, it’s The Kinks!” but I’ve got a thick skin. All I want is for the kids to like it. I don’t give a shit about the rest. We wouldn’t put this out unless we were 100% behind it. Otherwise we wouldn’t be having this conversation; this is the record we’ve wanted to make, these are the clothes we like to fucking wear, these are the drinks we like to drink, these are the cigs we like to smoke. There’s no point in kidding yourself – you might as well indulge in what you fucking like. Life’s too fucking short so you might as well have a good time. You’re not going to deprive yourself of shit because of some fucking knobhead in the press.
Your extra-curricular activities include your own clothing range with Pretty Green and you’ve also moved into film production where you’re filming Richard DiLello’s account of Apple Corps, The Longest Cocktail Party. How is the film coming along?
LG: It’s doing all right. We’re not re-inventing the wheel. We’re going back and tweaking a few things and filling it with gems from the past with 60s influence. I like it. It’s getting better all the time and it’s fucking great which is a top position to be in. It’s a personal thing and people either buy it or they don’t; it’s no skin off my fucking nose.
I’ve seen the script and it’s mega. It makes me laugh and it tickles me and it’ll do. But if it’s morbid and it’s boring then it won’t see the light of day. My involvement is getting the right people about. Jesse Armstrong from Peep Show is involved and it’s fucking good, man. I read the script and he narrowed it down a bit and he had me rolling around on the floor. If we can keep it like that it’ll be good, man. There’s a lot of humour in it but it’s a bit dark too. It’s not just one thing; it’s got a bit of everything. But it’s definitely got some fucking funny bits in it and some darkness.
Do you view your relationship with Noel as irreparably damaged?
LG: He hasn’t got people around him going, 'Sort it out' and I haven’t got people around me saying, 'Sort it out.' There’s a lot of people involved in it – without mentioning any names – but I don’t feel the need to go round to his fucking house and have the door slammed in my face. There’s no encouragement from any parties whereas if there was then it would get sorted. But to get it sorted for what? He wants to go on his own and make his own fucking music and be the man and let everyone know that he can fucking flush the toilet without the band or that he can pour his own fucking tea and that’s fine. I haven’t got time for that fucking bollocks in my life.
I want to be part of band and make great records. I haven’t got fucking time for, 'Oh, look at what I can do! I can do this! And I can fucking sack people!' That’s bollocks to me and people like that need to grow up; he needs to go and do that fucking shit. I’ll tell you fucking what, I’m not sitting here for him to go, 'Oh, I’m going to do my solo career and you guys can wait for five years while I fucking lord it around and have it and then I’ll fucking ring you up if it doesn’t go as well as people expect it to be.' Fuck that! We’re gone! We’re out of here!
Say it’s 2014 and someone approaches you with a huge suitcase of cash to reform Oasis for the 20th anniversary of ‘Definitely Maybe’, would you do it?
LG: I know that through my previous work with Oasis that I don’t need it just yet. I’m not going to say, 'Never', but at the moment no fucking chance. But it wouldn’t be for money, mate. I like to think that if we did get back together - which we fucking won’t - but if we did then it would be for the fans. It would be for the people and the music and not for fucking money. Fuck that shit!
You’re a finely turned out band but do you think your career could survive baldness?
LG: No, it couldn’t. But there’s hair transplants these days. Look at that little fucker from Ant and Dec! He was fucking bald in that jungle thing and now he’s got a thick fucking head of hair like Warren Beatty in Shampoo. I turned over to watch the fucking ‘News At Nine’ and I turn it back on and he’s got hair! But it’s a fucking terrible thing, isn’t it?
AB: It’s like Francis Rossi, the poor guy. The ponytail had to go in the end.
LG: But it couldn’t have gone on the front of the head, could it? I’d rather go grey than fucking bald and I’m not going to be dyeing it if it does go grey.
Source: thequietus.com
Visit my newly launched Beady Eye fan site www.standingontheedgeofthenoise.com by clicking here.
Liam Gallagher And Andy Bell Interview
Julian Marszalek meets the first of the Gallagher brothers (and his trusty second in command) out of the post Oasis starting gates and finds him in combative mood.
Standing with his hands clasped firmly behind his back, Liam Gallagher stares from behind his fringe to give an almost withering look of contempt. His mouth gives off the merest hint of a sneer but one suspects that he feels that it isn’t worth the bother as he finds himself feeding a hunger that’s clearly palpable. He stands like an immovable rock impervious to what’s going on around him. He’s at the centre of the universe and right here, right now, nothing else matters other than the music that he’s bringing a voice to.
That voice… one part John Lydon sneer to two parts John Lennon nasal delivery is about to set the country alight. These are the anthems that will soon be on everybody’s lips, a soundtrack to hedonism, freedom and late nights that morph into early mornings and beyond…
…and so much for The Quietus’ first encounter with Liam Gallagher back in May 1994 at Windsor’s Old Trout when Oasis, then touring ‘Shakermaker’, were building up a rabid fanbase thanks to live shows that combined instantly accessible songs with a seductive sonic ferocity that hadn’t been heard since the days of The Jesus & Mary Chain.
Ah yes – The Jesus & Mary Chain. Two brothers at war who finally fell apart both painfully and publicly and it’s a story that comes to be repeated as Liam and older brother Noel find their relationship and band disintegrating as internecine fighting finally brings the Oasis tale to a sad and sorry end. Like the subsequent albums post (What’s The Story) Morning Glory, their 2009 demise may have proved predictable but the undeniable truth for both believers and haters was that by reaching the conclusion of this sprawling saga, a large entertaining hole has been left wide open and gaping on the cultural landscape.
The Quietus has found itself in the presidential suite of a Marylebone hotel to meet both Liam Gallagher and guitarist Andy Bell as they ready themselves to launch their post-Oasis band, Beady Eye – formed with erstwhile band mates, guitarist Gem Archer and drummer Chris Sharrock - with their debut album, Different Gear, Still Speeding and inaugural UK tour.
Contrary to his hell-raising image, Liam Gallagher proves to be a charming and genial host. Relaxed and at ease with himself, he’s possessed of a fierce self-belief and self-awareness that’s frequently overlooked in the column inches that he generates. His intelligence is evident as he considers the questions that are put to him and the frankness of his answers is refreshing and, at times, shocking. It’s this strength that can be a weakness. Unlike many artists of his stature who are adept players at the publicity game, Gallagher refuses to censor himself and the pain caused by the implosion of the band he helped create means that he lashes out at his brother in the most provocative (and occasionally unpleasantly misogynist) terms. But his anger seems to be directed solely at his brother and himself.
His blue eyes hold your gaze and there’s an ever-present sense of danger about his demeanour which probably goes some way to explain why two music PRs sit at opposite ends of the room like a pair of referees in case it all kicks off.
Of course it doesn’t and the interview is punctuated by much laughter. The passion that Gallagher and Bell exude when discussing their new musical venture is at the heart of what fuels them. They’re acutely aware of what they’ve created and its place in the pop firmament and their hunger for success is no different from when they both started off their respective bands all those years ago…
The Oasis split has been fairly well documented elsewhere but how did you feel immediately after the split? Did you feel relieved or did you feel apprehensive about the future?
Liam Gallagher: No, not relief. But that’s life and I could kind of see it coming. It had been brewing for a bit and Noel was acting like a fucking woman, like a bitch and I was acting like a dickhead. But I like to think that there’s a reason behind my fucking actions because I like to keep it clean. There was a lot of shit going down and a lot of shit being written about my band and shit in the press and all that and Noel being so fucking close to the press. He was having a word with some of his friends in higher places and if it was me, I’d be fucking pulling knobheads up and saying to journalists, 'Wind your fucking neck in a bit.'
But you know, his mates are more important than his brother or his fucking band so fuck him. I’m not having it. You know, people who slate me in the press and coming back to my dressing room and drinking my fucking beer? Fuck that; it doesn’t work like that round my way, mate. You slag me off you don’t come to my fucking dressing room and drink my beer. That was basically it. It’s not all about me drinking or bollocks like that; it takes two to tango, you know what I mean?
But how did you feel immediately afterwards?
LG: Relief, to be quite honest; I’ll give you that. Shock as well but I knew that it was coming. And now, I’m very glad that it’s fucking all over. Which is a shame but nothing lasts forever. Judging in hindsight, which is the best thing, what’s grown out of it is Beady Eye and we’re making fucking music.
Andy Bell: I was on the sidelines of Liam and Noel’s issues but at the same time I felt like we’d all been sacked from Oasis. Things were finally taken to the next level. Oasis had been such a massive force that you end feeling like you’d been sacked.
LG: It was like a Noel solo thing anyway. He was doing everything. You’d say something like, “Like try this” and you’d get a look as if to say, “What the fuck are you talking about, you clown?” and that doesn’t wash with me, man. He might have written the tunes but I sang them and I like to think that I sold them. I stood my ground, he stood his ground and two worlds collided.
AB: It was the natural end to the band. Oasis had a life span and it wasn’t going to last forever. It wasn’t like one of those bands like the Stones. It was always going to do one in the same spirit that it started. When I was in the band we did a little tour without Noel and there were always some issues and madness going on. From that point on that was the way that it hobbled along. In saying all this, the last tour we did was the best we’d ever done. As a live band we got better and better and on the stadium shows on that tour we played really, really well. But within the band, something had to go at some point.
How soon after the break-up did you decide to form Beady Eye?
AB: We went back to the hotel [after Noel walked out] and sat around drinking beer and we were there! The band members of Beady Eye were there so it didn’t take much of a leap to go, 'Let’s do something.'
Andy, was there ever point of loyalties being tugged because my understanding is that Noel brought you into the band…
LG: [interrupting] See, this is the thing. Noel’s getting credit for [drummer Chris] Sharrock, Gem, Andy and everyone else and I get credit for all the people that got fucking sacked. Noel didn’t just go, 'Right, I’m going to get Andy Bell!' because he’d have to come through me. Both of us hired people and if anyone sacked anybody then it was Noel Gallagher. He sacked [drummer Alan White] Whitey, he sacked Bonehead, he sacked Guigsy [bassist, Paul McGuigan] and whoever else it fucking was but the hiring came from both of us. Noel Gallagher hired everyone? Fuck off, mate!
AB: Look, Noel walked out on the band. He didn’t say, 'Andy, do you fancy heading off with me?'
LG: And a statement was made pretty fucking quickly that night. It wasn’t like a week later, it was basically, 'I’m outta here!' Bosh! 'Here’s my statement.'
Was there any question of you stopping playing?
LG: Never, ever. We’re here to make music, man. Noel Gallagher’s not going to stop us. Fuck that! He’s the brother of a brother in a band. If he wants to walk and doing his fucking thing then fine, man. No one's gonna stop us making music because of Noel Gallagher. Fuck that! I like to think that we’ve got it in us.
Given the way that you described the working practices of Oasis, how much freedom does Beady Eye afford you in comparison?
AB: Beady Eye is a democracy and we all bring in ideas and we all bring in songs and of course we have complete freedom. That’s the thing that has to be mentioned in comparison to Oasis. That doesn’t mean that we didn’t have freedom in Oasis because we did. The dynamic in Beady Eye is really healthy.
LG: We’re all doing what we want to make this band great down to the album cover, our interviews, our videos, our tunes and we just fall into it. It’s a band and that’s what I like. We’re all watching each other’s backs. If it fails then we’ll all carry that weight but if it becomes a big success then we’ll all rejoice in that.
Oasis notched up some incredible milestones – Knebworth, multi-nights at Wembley Stadium, cracking the US Top 10. What do you want to achieve with Beady Eye? Can you match that? Do you even want to match that? Are you ambitions now different?
AB: Totally different. Our ambitions are about music, really.
LG: Yeah, and to still be making music. We’re thinking about it and thinking that we can be great. I like to think that we could start where we left off but it’s still early days.
AB: We’re playing different kinds of songs and where trying not to trade off the Oasis thing. The only way that we’d be trading off of it is if we’d play those songs which fucking isn’t much fun. When Noel Gallagher does it, he’ll have the whole Oasis back catalogue and that’s cool but we’re a different band and we’ve got our own bunch of tunes and that’s it.
LG: We don’t need those fucking tunes, you know what I mean? But Beady Eye’s [success or failure] won’t be through a lack of trying. Without a doubt, because we’re playing great, the songs are great and some of the songs here stand up to anything that Oasis have ever done. And the next [album] will be. But it’s not in our hands, it’s in the hands of the people upstairs but we are shit hot and we’re as good if not better than Oasis.
So what are your musical ambitions?
LG: Just to get out there and play, one tour at a time, man. Smash fuck out of this tour, let people know that we’re not dicks and that we can play our instruments and that the album’s great and that we can play live; get out to the festivals and fucking be the talking point of that festival. I’m not going there to play second fiddle to anyone. Whether we do or not is another fucking thing but we’ll be going in there like we fucking own it and not in an arrogant way but saying, 'This is our fucking thing' and be the talking point. And that’s it and then go back and start the new record and do the same again.
Do you feel under any pressure at the moment?
LG: None whatsoever. There’s no pressure. We’re doing what we want and if we don’t want to do it then we won’t do it.
You’ve both started bands before from ground level up. How does forming Beady Eye as established musicians compare?
AB: It’s very similar. You know, we’ll demo a tune with just the band in the room. It’s not posh – you’re doing it because you want to do it when you haven’t got a deal. Even though we had the wherewithal to start our own label doesn’t change the fact that we started this on a “starting-in-a-room” level and these are all our tunes and that for me really reminds me of that time in my life [when Ride started].
LG: That same hunger is there, without a doubt. Once we’re outta here and back in that rehearsal room we’re like everybody else except we’re that little bit fucking cooler, man. It’s definitely happening.
AB: When you go to a band’s gig, if they’re going to be shit then they’re going to be shit. It’s the dynamic between the band members that makes for a great gig. And the audience is a massive part of it and that room is what makes the gig and if we don’t stand up then we’ll get found out.
LG: We want to go round the world and play all these places, you know? We want this to be a massive success but at the same time because of the way of the world and that, it won’t be a let down if it doesn’t. I’m not going to be sitting there going, “Fuck!” We’ll just get up and make a new record. This is what we do. We’re not going to change our thing just because we’re not hip at the moment or anything but we’re going to stick to our guns. We want to be big, man. But if we were a younger band and it didn’t happen then your world would be shattered a bit more.
AB: We have different values now. Playing Wembley Stadium isn’t an end. We’re chasing that great record.
Your first release, ‘Bring The Light’, wrong-footed a lot of people, didn’t it?
AB: I didn’t think that it was going to be so shocking. In the context of the album it makes sense.
LG: I think [the naysayers] would’ve moaned whatever we put out. You put an Oasis record out and they’re going to fucking moan. I’m glad it’s out and I thank the Lord for tunes like that and it turned me on and the guys are having a great time. If people don’t get it first time around, so be fucking it. We got it first time around. That’s the music that we like but we don’t drive around in Cadillacs. You see how my hair is? I don’t do it like that for the interviews and then afterwards fucking grease it back! That’s music, man. That’s Elvis; that’s Jerry Lee Lewis; that Eddie Cochran. That’s the bones of it but to put a whole album of that out would be fucking ridiculous.
The press have recently been putting it about that rock music is dead.
LG: It probably is in places. But it’s not round our way. It’s as simple as that, really.
AB: It’s not really in the charts much though, is it? But it reminds me of ‘89/’90 because it was a similar thing then. It was all massively pop and Stock, Aitken and Waterman were viewed in the same way that X Factor is now.
LG: It’s nice to have a Number 1 record and a Number 1 single but it doesn’t matter so long as we can go out and do mega-storming gigs, you know? That’s all that matters to us. We’ve been round the block and we can take these things on the chin a bit. Just because the single goes in at Number 31 or whatever doesn’t mean that we’re a shit band. It’s just that the times have changed and we haven’t.
AB: Beady Eye are connected to rock & roll’s primal howl. Our music has got that 50s spirit, that 60s spirit and it’s got punk rock spirit but when we do it, it’s retro and when The White Stripes do it, it’s modern. It’s all to do with people’s perceptions of your band.
LG: It’s all about fucking choice, man; if the music’s there, then great. If no one’s making the music then it’s fucking dead but if it’s there then there’s always fucking hope. As long as people can say, 'Right, I’m going to a gig tonight!' then that’ll do me. It’ll never die.
AB: You know when you get fallow fields and you leave them for a year? Then you get a good crop and rock’s like that. It goes underground and when you least expect it you get a really good crop.
Do you find it a worrying development that something like Mumford & Sons walk away with Best Album at the Brits?
LG: I think it’s alright but they were fucking ashamed about winning and that’s the fucking sad bit. 'Oh, we shouldn’t be here!' Then what did you join a fucking band for then? They bow their heads down going, 'Oh, we don’t deserve it' like a fucking dick. What’s that about? You must have seen it before so don’t pretend like you’ve just come out of a cider apple factory.
AB: I’ve got nothing against them but I get the feeling they went back to their dressing room and went, 'YEAH!' [mimes air-punching].
LG: Still, it’s better than Take That, isn’t it?
Let’s talk influences. Liam, you grew up in Manchester in the 80s and my understanding is that electro and hip-hop was everywhere. Did that make any impact on your life and if so, why didn’t those influences manifest themselves in your music?
LG: ‘Cause I’m not into it now. You get the odd tune coming out every now and again like Wretch 32’s ‘Traktor’. It’s like So Solid Crew but I think they’re better. I like it. One tune and I thought, I’m having that! It’s a sound that does something to me but I won’t be buying the album.
AB: Dance music and hip-hop culture comes into rock music all the time and it’s a free-flowing thing but when it comes to naming your favourite albums of all time, you’ll say Hendrix or The Beatles because that’s where your heart is.
LG: I’m well aware that our new album has been done before. It ain’t nothing new but it’s fucking great. I’m well aware of people going, 'Well, you know, you could’ve put some fucking beats there' but I’m not going to do that for the sake of it. That’s not our fucking thing. We’re quite happy doing the rock & roll thing.
AB: It’s not about copying. Half the bands who want to be modern are copying each other and they’re not authentic in the way that I appreciate. I’m authentic, Liam’s authentic and we’re an authentic band because we do what we feel. We don’t feel constrained by, 'Oh, we might get this if we do a song this way.' We do what we naturally do and it makes us feel good and we’ve got the balls to stand up and do it.
LG: We just like what we do. I heard that fucking Radiohead record and I just go, 'What?!' I like to think that what we do, we do fucking well. Them writing a song about a fucking tree? Give me a fucking break! A thousand year old tree? Go fuck yourself! You’d have thought he’d have written a song about a modern tree or one that was planted last week. You know what I mean?
You’re about to release Beady Eye’s debut album and inevitably critical knives are being sharpened. Does criticism sting after all this time?
LG: Everyone’s got every right to criticise our record. Everyone’s got every fucking right to go, “Oh, it’s The Beatles, it’s The Stones, it’s The Kinks!” but I’ve got a thick skin. All I want is for the kids to like it. I don’t give a shit about the rest. We wouldn’t put this out unless we were 100% behind it. Otherwise we wouldn’t be having this conversation; this is the record we’ve wanted to make, these are the clothes we like to fucking wear, these are the drinks we like to drink, these are the cigs we like to smoke. There’s no point in kidding yourself – you might as well indulge in what you fucking like. Life’s too fucking short so you might as well have a good time. You’re not going to deprive yourself of shit because of some fucking knobhead in the press.
Your extra-curricular activities include your own clothing range with Pretty Green and you’ve also moved into film production where you’re filming Richard DiLello’s account of Apple Corps, The Longest Cocktail Party. How is the film coming along?
LG: It’s doing all right. We’re not re-inventing the wheel. We’re going back and tweaking a few things and filling it with gems from the past with 60s influence. I like it. It’s getting better all the time and it’s fucking great which is a top position to be in. It’s a personal thing and people either buy it or they don’t; it’s no skin off my fucking nose.
I’ve seen the script and it’s mega. It makes me laugh and it tickles me and it’ll do. But if it’s morbid and it’s boring then it won’t see the light of day. My involvement is getting the right people about. Jesse Armstrong from Peep Show is involved and it’s fucking good, man. I read the script and he narrowed it down a bit and he had me rolling around on the floor. If we can keep it like that it’ll be good, man. There’s a lot of humour in it but it’s a bit dark too. It’s not just one thing; it’s got a bit of everything. But it’s definitely got some fucking funny bits in it and some darkness.
Do you view your relationship with Noel as irreparably damaged?
LG: He hasn’t got people around him going, 'Sort it out' and I haven’t got people around me saying, 'Sort it out.' There’s a lot of people involved in it – without mentioning any names – but I don’t feel the need to go round to his fucking house and have the door slammed in my face. There’s no encouragement from any parties whereas if there was then it would get sorted. But to get it sorted for what? He wants to go on his own and make his own fucking music and be the man and let everyone know that he can fucking flush the toilet without the band or that he can pour his own fucking tea and that’s fine. I haven’t got time for that fucking bollocks in my life.
I want to be part of band and make great records. I haven’t got fucking time for, 'Oh, look at what I can do! I can do this! And I can fucking sack people!' That’s bollocks to me and people like that need to grow up; he needs to go and do that fucking shit. I’ll tell you fucking what, I’m not sitting here for him to go, 'Oh, I’m going to do my solo career and you guys can wait for five years while I fucking lord it around and have it and then I’ll fucking ring you up if it doesn’t go as well as people expect it to be.' Fuck that! We’re gone! We’re out of here!
Say it’s 2014 and someone approaches you with a huge suitcase of cash to reform Oasis for the 20th anniversary of ‘Definitely Maybe’, would you do it?
LG: I know that through my previous work with Oasis that I don’t need it just yet. I’m not going to say, 'Never', but at the moment no fucking chance. But it wouldn’t be for money, mate. I like to think that if we did get back together - which we fucking won’t - but if we did then it would be for the fans. It would be for the people and the music and not for fucking money. Fuck that shit!
You’re a finely turned out band but do you think your career could survive baldness?
LG: No, it couldn’t. But there’s hair transplants these days. Look at that little fucker from Ant and Dec! He was fucking bald in that jungle thing and now he’s got a thick fucking head of hair like Warren Beatty in Shampoo. I turned over to watch the fucking ‘News At Nine’ and I turn it back on and he’s got hair! But it’s a fucking terrible thing, isn’t it?
AB: It’s like Francis Rossi, the poor guy. The ponytail had to go in the end.
LG: But it couldn’t have gone on the front of the head, could it? I’d rather go grey than fucking bald and I’m not going to be dyeing it if it does go grey.
Source: thequietus.com
Visit my newly launched Beady Eye fan site www.standingontheedgeofthenoise.com by clicking here.
Beady Eye
Beady Eye are pleased to announce they will make their first trip to South Korea on May 15th when they play at the AX Hall in Seoul.
Tickets go on sale from March 8th through the Interpark website and their box office on 1544-1555.
The band's gig in Seoul follows their Japanese tour which completely sold out in one day.
Source: www.beadyeyemusic.com
Visit my newly launched Beady Eye fan site www.standingontheedgeofthenoise.com by clicking here.
Beady Eye To Play Seoul
Beady Eye are pleased to announce they will make their first trip to South Korea on May 15th when they play at the AX Hall in Seoul.
Tickets go on sale from March 8th through the Interpark website and their box office on 1544-1555.
The band's gig in Seoul follows their Japanese tour which completely sold out in one day.
Source: www.beadyeyemusic.com
Visit my newly launched Beady Eye fan site www.standingontheedgeofthenoise.com by clicking here.
Andy Bell
Beady Eye
chris Sharrock
Gem Archer
Liam Gallagher
Channel 4
Live From Abbey Road
Beady Eye Special.
Don't forget that at 11:45pm on Channel 4 tonight, you can watch Live From Abbey Road (UK Only.)
The 30-minute show will feature Beady Eye performing four songs plus an interview with the group.
Visit my newly launched Beady Eye fan site www.standingontheedgeofthenoise.com by clicking here.
Channel 4 To Air Beady Eye Special Tonight
Channel 4
Live From Abbey Road
Beady Eye Special.
Don't forget that at 11:45pm on Channel 4 tonight, you can watch Live From Abbey Road (UK Only.)
The 30-minute show will feature Beady Eye performing four songs plus an interview with the group.
Visit my newly launched Beady Eye fan site www.standingontheedgeofthenoise.com by clicking here.
Alan White
Bonehead
Guigsy
Liam Gallagher
Noel Gallagher
Oasis
Standing On The Shoulder Of Giants is the fourth studio album by the English rock band Oasis, released on February 28, 2000. In 1999, the year preceding the final release of this album, Oasis had lost two founding members (Paul "Bonehead" Arthurs and Paul "Guigsy" McGuigan) and hired a new producer (Mark "Spike" Stent). As a result of these changes, the album's tone was more experimental, with electronica and psychedelic influences. The darker feeling and psychedelic tone of this album is a departure from earlier Britpop-influenced Oasis records.
Songs such as the Indian-influenced "Who Feels Love?", the progressive "Gas Panic!" and the electronica "Go Let It Out" depart from Oasis' old Britpop style. The album was the sixth fastest selling album in UK chart history, selling over 310,000 copies in its first week. Despite becoming their fourth number one album in the UK, it is one of the band's lowest-selling albums, selling only 3 million copies worldwide.
Trivia
The album's title was taken from the words of Sir Isaac Newton: "If I can see further than anyone else, it is only because I am standing on the shoulders of giants". Noel Gallagher saw the quote on the side of a £2 coin whilst in a pub and liked it so much he thought it would be a suitable name for Oasis' new album. He then wrote the name on the side of a cigarette packet whilst drunk. When he awoke in the morning, he realised he had written "Standing on the Shoulder of Giants — A Bum Title".
Due to the departure of Bonehead and Guigsy from the band whilst the album was in production, their parts had to be re-recorded, for legal reasons. Thus, the album only features the Gallagher brothers and Alan White. The sleeve of the album also features them.
The first track, "Fuckin' in the Bushes", is featured on the soundtrack for the film Snatch, and is regularly used in introductions for high-tempo events, due to its quick tempo and loud volume.
In the April 2006 issue of Q magazine, the album was the only Oasis record to feature in a countdown of the "50 worst albums of all time". It was placed at number 46 and described as "the low point of their fallow years", despite the fact that the album had been favourably reviewed in the magazine at its time of release and featured in the magazine's "50 Best Albums of 2000" list. In response to the Q feature, Noel has said, "Even though it wasn't our finest hour, it's a good album born through tough times. I worked harder on that album than anything before and anything since."
A notable B-Side was Lets All Make Believe. This song was on the Go Let It Out single and is said to be one of the bands finest songs. Q Magazine declared it the greatest ever "lost" track in the February 2007 issue and said that if it was on the album it would have carried "an extra star" on the review. Q gave this album 4 Stars back in 2000, meaning an extra star would be 5 stars. So with Lets All Make Believe on the album, according to Q magazine's logic, SOTSOG would have been a 5 star classic.
Track listing
01: "Fuckin' In The Bushes"
02: "Go Let It Out"
03: "Who Feels Love?"
04: "Put Yer Money Where Yer Mouth Is"
05: "Little James"
06: "Gas Panic!"
07: "Where Did It All Go Wrong?"
08: "Sunday Morning Call"
09: "I Can See A Liar"
10: "Roll It Over"
Demos
A bootleg of demo sessions recorded for this album was leaked onto the internet in January 2000. Most of these songs were recorded by Noel Gallagher with the help of a couple of friends in his home studio at Supernova Heights and at Oasis' own Wheeler End Studios complex. All of the songs, apart from "Little James", were sung by Noel.
The tracklisting of the demo bootleg is:
"Carry Us All"
"Who Feels Love?"
"Fuckin' in the Bushes"
"Little James"
"Gas Panic!
"Put Yer Money Where Yer Mouth Is"
"Sunday Morning Call"
"I Can See a Liar"
"Go Let It Out"
"Roll It Over"
"Revolution Song"
"Where Did It All Go Wrong?"
"(As Long As They've Got) Cigarettes in Hell"
"Just Getting Older"
"Let There Be Love"
At the time of the leak, four songs ("Carry Us All", "Revolution Song", "Just Getting Older" and "Let There Be Love") were not scheduled for release on either the album or as B-sides on the new single "Go Let It Out". These songs were also completely undocumented, apart from "Revolution Song", which had been mentioned by author Paolo Hewitt in his 1999 book Forever the People — Six Months on the Road with Oasis. As such, these four songs had made-up titles based on commonly-repeated phrases mentioned in the songs. Whilst "Carry Us All" and "Just Getting Older" were correctly guessed, the other two tracks were given titles which, in time, would prove to be incorrect. "Revolution Song" was given the title "Solve My Mystery" and "Let There Be Love" was given the title "It's a Crime". "Let There Be Love" was released on Don't Believe the Truth. Because Noel mentioned in a February 23, 2000 interview with Melody Maker magazine that "Revolution Song" had been demoed — but not released because Blur had recently released a similar sounding song — it can be assumed that these titles are correct.
Currently, only one song ("Revolution Song") remains commercially unreleased.
Visit my newly launched Beady Eye fan site www.standingontheedgeofthenoise.com by clicking here.
On This Day In Oasis History...
Standing On The Shoulder Of Giants is the fourth studio album by the English rock band Oasis, released on February 28, 2000. In 1999, the year preceding the final release of this album, Oasis had lost two founding members (Paul "Bonehead" Arthurs and Paul "Guigsy" McGuigan) and hired a new producer (Mark "Spike" Stent). As a result of these changes, the album's tone was more experimental, with electronica and psychedelic influences. The darker feeling and psychedelic tone of this album is a departure from earlier Britpop-influenced Oasis records.
Songs such as the Indian-influenced "Who Feels Love?", the progressive "Gas Panic!" and the electronica "Go Let It Out" depart from Oasis' old Britpop style. The album was the sixth fastest selling album in UK chart history, selling over 310,000 copies in its first week. Despite becoming their fourth number one album in the UK, it is one of the band's lowest-selling albums, selling only 3 million copies worldwide.
Trivia
The album's title was taken from the words of Sir Isaac Newton: "If I can see further than anyone else, it is only because I am standing on the shoulders of giants". Noel Gallagher saw the quote on the side of a £2 coin whilst in a pub and liked it so much he thought it would be a suitable name for Oasis' new album. He then wrote the name on the side of a cigarette packet whilst drunk. When he awoke in the morning, he realised he had written "Standing on the Shoulder of Giants — A Bum Title".
Due to the departure of Bonehead and Guigsy from the band whilst the album was in production, their parts had to be re-recorded, for legal reasons. Thus, the album only features the Gallagher brothers and Alan White. The sleeve of the album also features them.
The first track, "Fuckin' in the Bushes", is featured on the soundtrack for the film Snatch, and is regularly used in introductions for high-tempo events, due to its quick tempo and loud volume.
In the April 2006 issue of Q magazine, the album was the only Oasis record to feature in a countdown of the "50 worst albums of all time". It was placed at number 46 and described as "the low point of their fallow years", despite the fact that the album had been favourably reviewed in the magazine at its time of release and featured in the magazine's "50 Best Albums of 2000" list. In response to the Q feature, Noel has said, "Even though it wasn't our finest hour, it's a good album born through tough times. I worked harder on that album than anything before and anything since."
A notable B-Side was Lets All Make Believe. This song was on the Go Let It Out single and is said to be one of the bands finest songs. Q Magazine declared it the greatest ever "lost" track in the February 2007 issue and said that if it was on the album it would have carried "an extra star" on the review. Q gave this album 4 Stars back in 2000, meaning an extra star would be 5 stars. So with Lets All Make Believe on the album, according to Q magazine's logic, SOTSOG would have been a 5 star classic.
Track listing
01: "Fuckin' In The Bushes"
02: "Go Let It Out"
03: "Who Feels Love?"
04: "Put Yer Money Where Yer Mouth Is"
05: "Little James"
06: "Gas Panic!"
07: "Where Did It All Go Wrong?"
08: "Sunday Morning Call"
09: "I Can See A Liar"
10: "Roll It Over"
Demos
A bootleg of demo sessions recorded for this album was leaked onto the internet in January 2000. Most of these songs were recorded by Noel Gallagher with the help of a couple of friends in his home studio at Supernova Heights and at Oasis' own Wheeler End Studios complex. All of the songs, apart from "Little James", were sung by Noel.
The tracklisting of the demo bootleg is:
"Carry Us All"
"Who Feels Love?"
"Fuckin' in the Bushes"
"Little James"
"Gas Panic!
"Put Yer Money Where Yer Mouth Is"
"Sunday Morning Call"
"I Can See a Liar"
"Go Let It Out"
"Roll It Over"
"Revolution Song"
"Where Did It All Go Wrong?"
"(As Long As They've Got) Cigarettes in Hell"
"Just Getting Older"
"Let There Be Love"
At the time of the leak, four songs ("Carry Us All", "Revolution Song", "Just Getting Older" and "Let There Be Love") were not scheduled for release on either the album or as B-sides on the new single "Go Let It Out". These songs were also completely undocumented, apart from "Revolution Song", which had been mentioned by author Paolo Hewitt in his 1999 book Forever the People — Six Months on the Road with Oasis. As such, these four songs had made-up titles based on commonly-repeated phrases mentioned in the songs. Whilst "Carry Us All" and "Just Getting Older" were correctly guessed, the other two tracks were given titles which, in time, would prove to be incorrect. "Revolution Song" was given the title "Solve My Mystery" and "Let There Be Love" was given the title "It's a Crime". "Let There Be Love" was released on Don't Believe the Truth. Because Noel mentioned in a February 23, 2000 interview with Melody Maker magazine that "Revolution Song" had been demoed — but not released because Blur had recently released a similar sounding song — it can be assumed that these titles are correct.
Currently, only one song ("Revolution Song") remains commercially unreleased.
Visit my newly launched Beady Eye fan site www.standingontheedgeofthenoise.com by clicking here.
Alan White
Bonehead
Guigsy
Liam Gallagher
Noel Gallagher
Oasis
‘Different Gear, Still Speeding’ is released today, on the band's own record label and includes 13 new songs.
The album was recorded alongside producer Steve Lillywhite at RAK Studios in London last year.
You can get the album here from the official Beady Eye store or from iTunes here.
Visit my newly launched Beady Eye fan site www.standingontheedgeofthenoise.com by clicking here.
Beady Eye's 'Different Gear, Still Speeding' Released Today!
‘Different Gear, Still Speeding’ is released today, on the band's own record label and includes 13 new songs.
The album was recorded alongside producer Steve Lillywhite at RAK Studios in London last year.
You can get the album here from the official Beady Eye store or from iTunes here.
Visit my newly launched Beady Eye fan site www.standingontheedgeofthenoise.com by clicking here.
Dave Grohl
Foo Fighters
Juliette Lewis
Noel Gallagher
Pink
Noel Gallagher, Dave Grohl, P!nk and Juliette Lewis after the Foo Fighters show at Wembley Arena last night.
Visit my newly launched Beady Eye fan site www.standingontheedgeofthenoise.com by clicking here.
Noel Gallagher At Foo Fighters Gig
Noel Gallagher, Dave Grohl, P!nk and Juliette Lewis after the Foo Fighters show at Wembley Arena last night.
Visit my newly launched Beady Eye fan site www.standingontheedgeofthenoise.com by clicking here.
Beady Eye
Liam Gallagher
UK ONLY
The News of the World's mass circulation men's magazine Jam launches today with a covermount of a five track CD sampler of 'Different Gear, Still Speeding' by Liam Gallagher's band Beady Eye.
The CD will be polybagged in the Carlton and Granada television regions, and will be redeemable by voucher in Tescos nationwide.
The former Oasis singer is also the subject of the title's cover feature and stars in an exclusive shoot by iconic British photographer David Bailey.
Visit my newly launched Beady Eye fan site www.standingontheedgeofthenoise.com by clicking here.
Free Beady Eye CD In Today's News Of The World
UK ONLY
The News of the World's mass circulation men's magazine Jam launches today with a covermount of a five track CD sampler of 'Different Gear, Still Speeding' by Liam Gallagher's band Beady Eye.
The CD will be polybagged in the Carlton and Granada television regions, and will be redeemable by voucher in Tescos nationwide.
The former Oasis singer is also the subject of the title's cover feature and stars in an exclusive shoot by iconic British photographer David Bailey.
Visit my newly launched Beady Eye fan site www.standingontheedgeofthenoise.com by clicking here.
Andy Bell
Beady Eye
chris Sharrock
Gem Archer
Liam Gallagher
Click here to see pictures of the Japanese deluxe edition of Beady Eye's debut album Different Gear, Still Speeding.
Visit my newly launched Beady Eye fan site www.standingontheedgeofthenoise.com by clicking here.
Beady Eye's 'Different Gear, Still Speeding' Japanese Deluxe Edition
Click here to see pictures of the Japanese deluxe edition of Beady Eye's debut album Different Gear, Still Speeding.
Visit my newly launched Beady Eye fan site www.standingontheedgeofthenoise.com by clicking here.
Andy Bell
Beady Eye
chris Sharrock
Gem Archer
Liam Gallagher
Oasis fans probably thought it was one more in a long line of crying-wolf dust-ups when the band’s perpetually scrappy siblings, Noel and Liam Gallagher, swore the band was over after a nasty backstage altercation in Paris in August 2009.
This time, however, the mouthy Mancunians were dead serious. Guitarist/songwriter Noel was fed up, and leaving his vocalist brother for a solo career. But it didn’t take long for Liam to issue his own blue-streak bulletin — he would be continuing on under the moniker of Beady Eye, with Oasis members Gem Archer (guitar), Andy Bell (switching back to guitar from bass), and drummer Chris Sharrock at his side. When they play an intimate-theater Stateside tour this summer, they’ll be joined by keyboardist Matt Jones and bassist Jeff Wootton
.
Liam — who’s also launched a posh clothing company, Pretty Green — wasn’t crying wolf, either. Beady Eye soon entered London’s prestigious RAK Studios with legendary producer Steve Lillywhite (U2, XTC, Morrissey), and emerged with a revitalized-sounding 13-track album with the sly title Different Gear, Still Speeding. From the sound of the album (which drops March 1), Liam is still firing on all Lennon-ized cylinders, especially on the horn-peppered anthem “Four Letter Word,” and the swaying acoustic ballad, “The Roller,” which chimes like "All You Need Is Love" meets “Instant Karma."
“You can carry regrets but they won’t let you live,” Gallagher observes in the keyboard-carpeted “Kill For A Dream,” and he sounds like he damn well means it. He and Archer checked in with ShockHound to talk about the new album, the decision to push forward as Beady Eye, and why Liam has no interest whatsoever in "going solo."
SHOCKHOUND: So how’s Pretty Green going?
LIAM GALLAGHER: It's going alright, mate, it’s doing well. I’ve got three shops now, too — one on Carnaby Street [in London], one in Manchester, one in Glasgow. And we’re gonna have one in New York, and one in Japan coming soon. New York is opening really soon, like June or something.
SHOCKHOUND: Do you ever drop by your own stores, just to see what’s going on?
GEM ARCHER: He’s not Mohammed El Fayed, man!
GALLAGHER: Well, I’ve been there a couple of times. I’m just making sure that...nah, I’ve only been there a couple of times, mate.
SHOCKHOUND: Have you been invited into the snooty Derek Zoolander fashion world now?
GALLAGHER: I don’t get involved in it. Just like the music business — I don’t get involved in that, either. I just do my thing and get out. If you have to start hanging out with them [fashion people]? No deal! Just like the music business. Do I go and hang out with the head of Sony? No, I don’t.
SHOCKHOUND: No fight between you and Noel has ever lasted this long. Is it true you haven’t spoken to him since the breakup happened in 2009?
GALLAGHER: Nah, I haven’t spoken to him. We’ve got nothing to say to each other.
SHOCKHOUND: In “Kill For A Dream,” you sing "I’m here if you wanna call."
GALLAGHER: Yeah. But it’s got nothing to do with Noel. It was written before all that. And Andy wrote it, and I’m sure he’s also had some personal shit going down, but you’d have to ask him.
SHOCKHOUND: What did you want to do with Beady Eye, creatively?
ARCHER: We didn’t sit around thinking about it. We just had a little plan to take some time off, because Oasis had a mega-long, 13-month tour. And then we thought, "Well, we ain’t hangin’ up our guitars just yet — there’s too much to do!" So it took about a week to get in the studio and start demoing. And then it just kind of...it just grew and grew and grew. Simple as that, man. Before you know it, you’ve got six tunes. Then you have a break for Christmas, and before you know it, you’ve got ten tunes. And then it’s 13. Then you go into the studio, and it’s kind of done itself — all we’ve got to do is just show up.
SHOCKHOUND: In Oasis, everybody wrote and submitted songs separately. How did the writing proceed in Beady Eye?
ARCHER: I’ll tell you what we did. We came together as a band massively on putting flesh on the bones of the demos, d’ya know what I mean? Andy will have just a Dictaphone demo, with just a voice on a cassette, and Liam will probably just play it on the guitar in front of ya. So then, as a band, we massively got involved in making it, making it fully formed. And that’s down to simply the drumbeat. Or, "Is it gonna be guitars? Is it gonna be piano? Is it gonna be fast, and where’s the key gonna be?" So with everything — we were all involved in that, and then the production, too.
SHOCKHOUND: So what do you learn from a guy like Steve Lillywhite?
GALLAGHER: To iron your shirts!
ARCHER: Seriously! To keep your shirts well-ironed. And don’t eat too quickly, and let other people pick up the ping-pong balls.
GALLAGHER: He’s a good producer, man. He had experience. And I’ll tell you what, man — we’re not being arrogant, but we already know a lot, anyway. And Gem certainly knows a lot — he really knows what he’s doing in the studio, d’ya know what I mean? So we don’t often learn a lot.
ARCHER: But the good thing with Steve is, he had a lot of experience, and he didn’t just come in off the last two records he’d done. He hasn’t just got a name — he’s got a career. And I think he’s adaptable. And I know he loves Liam’s voice. And the thing is, he just didn’t wanna get in the way of the record. And he was properly up for things like just opening all the doors and letting it all be live — shit like that. He’d never say no to us, and he was really brave in that respect.
SHOCKHOUND: He must've had fun with all that Lennon déjà vu slapback on “The Roller.”
ARCHER: It’s funny that you say that, because I’ll tell you what — we wanted to try some double tracking on the vocals to get that Lennon thing; we wanted to try it, because we like that Lennon sound. But Steve? He’d be dead set against it! So the double-tracking was just us having some fun.
GALLAGHER: Yeah. That’s all us, man — that whole Lennon vibe.
ARCHER: And I wrote “The Roller,” too. And lyrically, I’d say it’s about being bulletproof, not letting life crack ya. I mean, we all get cracked. But sometimes, it’s good to have a mate who’s bulletproof, isn’t it? And then they can sort you out. So maybe he’s "The Roller."
SHOCKHOUND: One of your songs is called “Beatles and Stones.” I never understood why you had to choose one over the other.
GALLAGHER: Me neither! That’s why it’s called “Beatles and Stones.” I wrote that one, but it’s not about the Beatles, and its not about the Stones, exactly; it’s more about wanting to stand the test of time, with anything that you put down. I want our music to still sound great in 20 or 30 years’ time.
SHOCKHOUND: How long did it take you to decide to carry on as Beady Eye? And not do a solo album instead?
GALLAGHER: Well, if anything, I couldn’t have done a solo record — it’s not in my nature. And I can’t even fucking play an instrument, really; I’m not a solo guy, so I wouldn’t do it even if I could. I need to be in a band — I need a bunch of people around me, d’ya know what I mean? Plus, I really enjoy being in a band.
SHOCKHOUND: How did you come up with the Beady Eye name?
GALLAGHER: Well, we tried a few names, but they’d all been taken. Like Monkey Eyes, Cat’s Eyes. But I dunno — you’ve gotta call yourself something, and that was the one that everyone was kinda buzzing about. And it means being aware of things. Keeping an eye on things and not letting things get out of hand.
SHOCKHOUND: You speak of a "different gear" in the album title — have you actually slowed down?
GALLAGHER: A little bit. But not musically, though. Musically, we’re fucking on fire, man! We’re picking up pace, we’re fucking buzzing, man. But as a person? Yeah, I’ve slowed down a little bit. But not too much.
SHOCKHOUND: So, in a spiritual sense, do you believe it was all meant to go down like this?
GALLAGHER: Yep. You’ve gotta take whatever’s in front of you and you’ve gotta go for it, haven’t you? You’ve just gotta do what you’ve gotta do. So we certainly didn’t plan it. This is just what happened — Oasis split up. And I think there could’ve been more Oasis records, but it wasn’t meant to be.
SHOCKHOUND: What do you think of the new UK band Brother? The one everyone is calling "the next Oasis"?
GALLAGHER: Not a lot. They sound like a really shit Blur and Elastica. They sound fuck-all like Oasis, and I’m kind of insulted that people think they’re gonna be the new Oasis. But at least they’ve got guitars. At least they’re trying. So I kinda take back what I just said about ‘em, because at least they're having a go at it. But they’re nowhere near Oasis!
SHOCKHOUND: The Vaccines are pretty great, though, right?
ARCHER: Yeah. I like a couple of songs of theirs — they’ve got this one song that’s really got a proper Lee Mavers chorus. But we’re really more involved in our own stuff, so when we do get excited, it might just be from random places, here and there. Like, Andy is really, really excited about this new thing he’s found called Rasta Mouse, this TV program. And I just found out that the Go! Team are bringing out a new album, so I’m excited to hear that.
GALLAGHER: I’m excited just to be having my dinner in about half an hour! I don’t know what it sounds like, but I’m betting that it tastes good!
Visit my newly launched Beady Eye fan site www.standingontheedgeofthenoise.com by clicking here.
Beady Eye Interview With Shockhound
Oasis fans probably thought it was one more in a long line of crying-wolf dust-ups when the band’s perpetually scrappy siblings, Noel and Liam Gallagher, swore the band was over after a nasty backstage altercation in Paris in August 2009.
This time, however, the mouthy Mancunians were dead serious. Guitarist/songwriter Noel was fed up, and leaving his vocalist brother for a solo career. But it didn’t take long for Liam to issue his own blue-streak bulletin — he would be continuing on under the moniker of Beady Eye, with Oasis members Gem Archer (guitar), Andy Bell (switching back to guitar from bass), and drummer Chris Sharrock at his side. When they play an intimate-theater Stateside tour this summer, they’ll be joined by keyboardist Matt Jones and bassist Jeff Wootton
.
Liam — who’s also launched a posh clothing company, Pretty Green — wasn’t crying wolf, either. Beady Eye soon entered London’s prestigious RAK Studios with legendary producer Steve Lillywhite (U2, XTC, Morrissey), and emerged with a revitalized-sounding 13-track album with the sly title Different Gear, Still Speeding. From the sound of the album (which drops March 1), Liam is still firing on all Lennon-ized cylinders, especially on the horn-peppered anthem “Four Letter Word,” and the swaying acoustic ballad, “The Roller,” which chimes like "All You Need Is Love" meets “Instant Karma."
“You can carry regrets but they won’t let you live,” Gallagher observes in the keyboard-carpeted “Kill For A Dream,” and he sounds like he damn well means it. He and Archer checked in with ShockHound to talk about the new album, the decision to push forward as Beady Eye, and why Liam has no interest whatsoever in "going solo."
SHOCKHOUND: So how’s Pretty Green going?
LIAM GALLAGHER: It's going alright, mate, it’s doing well. I’ve got three shops now, too — one on Carnaby Street [in London], one in Manchester, one in Glasgow. And we’re gonna have one in New York, and one in Japan coming soon. New York is opening really soon, like June or something.
SHOCKHOUND: Do you ever drop by your own stores, just to see what’s going on?
GEM ARCHER: He’s not Mohammed El Fayed, man!
GALLAGHER: Well, I’ve been there a couple of times. I’m just making sure that...nah, I’ve only been there a couple of times, mate.
SHOCKHOUND: Have you been invited into the snooty Derek Zoolander fashion world now?
GALLAGHER: I don’t get involved in it. Just like the music business — I don’t get involved in that, either. I just do my thing and get out. If you have to start hanging out with them [fashion people]? No deal! Just like the music business. Do I go and hang out with the head of Sony? No, I don’t.
SHOCKHOUND: No fight between you and Noel has ever lasted this long. Is it true you haven’t spoken to him since the breakup happened in 2009?
GALLAGHER: Nah, I haven’t spoken to him. We’ve got nothing to say to each other.
SHOCKHOUND: In “Kill For A Dream,” you sing "I’m here if you wanna call."
GALLAGHER: Yeah. But it’s got nothing to do with Noel. It was written before all that. And Andy wrote it, and I’m sure he’s also had some personal shit going down, but you’d have to ask him.
SHOCKHOUND: What did you want to do with Beady Eye, creatively?
ARCHER: We didn’t sit around thinking about it. We just had a little plan to take some time off, because Oasis had a mega-long, 13-month tour. And then we thought, "Well, we ain’t hangin’ up our guitars just yet — there’s too much to do!" So it took about a week to get in the studio and start demoing. And then it just kind of...it just grew and grew and grew. Simple as that, man. Before you know it, you’ve got six tunes. Then you have a break for Christmas, and before you know it, you’ve got ten tunes. And then it’s 13. Then you go into the studio, and it’s kind of done itself — all we’ve got to do is just show up.
SHOCKHOUND: In Oasis, everybody wrote and submitted songs separately. How did the writing proceed in Beady Eye?
ARCHER: I’ll tell you what we did. We came together as a band massively on putting flesh on the bones of the demos, d’ya know what I mean? Andy will have just a Dictaphone demo, with just a voice on a cassette, and Liam will probably just play it on the guitar in front of ya. So then, as a band, we massively got involved in making it, making it fully formed. And that’s down to simply the drumbeat. Or, "Is it gonna be guitars? Is it gonna be piano? Is it gonna be fast, and where’s the key gonna be?" So with everything — we were all involved in that, and then the production, too.
SHOCKHOUND: So what do you learn from a guy like Steve Lillywhite?
GALLAGHER: To iron your shirts!
ARCHER: Seriously! To keep your shirts well-ironed. And don’t eat too quickly, and let other people pick up the ping-pong balls.
GALLAGHER: He’s a good producer, man. He had experience. And I’ll tell you what, man — we’re not being arrogant, but we already know a lot, anyway. And Gem certainly knows a lot — he really knows what he’s doing in the studio, d’ya know what I mean? So we don’t often learn a lot.
ARCHER: But the good thing with Steve is, he had a lot of experience, and he didn’t just come in off the last two records he’d done. He hasn’t just got a name — he’s got a career. And I think he’s adaptable. And I know he loves Liam’s voice. And the thing is, he just didn’t wanna get in the way of the record. And he was properly up for things like just opening all the doors and letting it all be live — shit like that. He’d never say no to us, and he was really brave in that respect.
SHOCKHOUND: He must've had fun with all that Lennon déjà vu slapback on “The Roller.”
ARCHER: It’s funny that you say that, because I’ll tell you what — we wanted to try some double tracking on the vocals to get that Lennon thing; we wanted to try it, because we like that Lennon sound. But Steve? He’d be dead set against it! So the double-tracking was just us having some fun.
GALLAGHER: Yeah. That’s all us, man — that whole Lennon vibe.
ARCHER: And I wrote “The Roller,” too. And lyrically, I’d say it’s about being bulletproof, not letting life crack ya. I mean, we all get cracked. But sometimes, it’s good to have a mate who’s bulletproof, isn’t it? And then they can sort you out. So maybe he’s "The Roller."
SHOCKHOUND: One of your songs is called “Beatles and Stones.” I never understood why you had to choose one over the other.
GALLAGHER: Me neither! That’s why it’s called “Beatles and Stones.” I wrote that one, but it’s not about the Beatles, and its not about the Stones, exactly; it’s more about wanting to stand the test of time, with anything that you put down. I want our music to still sound great in 20 or 30 years’ time.
SHOCKHOUND: How long did it take you to decide to carry on as Beady Eye? And not do a solo album instead?
GALLAGHER: Well, if anything, I couldn’t have done a solo record — it’s not in my nature. And I can’t even fucking play an instrument, really; I’m not a solo guy, so I wouldn’t do it even if I could. I need to be in a band — I need a bunch of people around me, d’ya know what I mean? Plus, I really enjoy being in a band.
SHOCKHOUND: How did you come up with the Beady Eye name?
GALLAGHER: Well, we tried a few names, but they’d all been taken. Like Monkey Eyes, Cat’s Eyes. But I dunno — you’ve gotta call yourself something, and that was the one that everyone was kinda buzzing about. And it means being aware of things. Keeping an eye on things and not letting things get out of hand.
SHOCKHOUND: You speak of a "different gear" in the album title — have you actually slowed down?
GALLAGHER: A little bit. But not musically, though. Musically, we’re fucking on fire, man! We’re picking up pace, we’re fucking buzzing, man. But as a person? Yeah, I’ve slowed down a little bit. But not too much.
SHOCKHOUND: So, in a spiritual sense, do you believe it was all meant to go down like this?
GALLAGHER: Yep. You’ve gotta take whatever’s in front of you and you’ve gotta go for it, haven’t you? You’ve just gotta do what you’ve gotta do. So we certainly didn’t plan it. This is just what happened — Oasis split up. And I think there could’ve been more Oasis records, but it wasn’t meant to be.
SHOCKHOUND: What do you think of the new UK band Brother? The one everyone is calling "the next Oasis"?
GALLAGHER: Not a lot. They sound like a really shit Blur and Elastica. They sound fuck-all like Oasis, and I’m kind of insulted that people think they’re gonna be the new Oasis. But at least they’ve got guitars. At least they’re trying. So I kinda take back what I just said about ‘em, because at least they're having a go at it. But they’re nowhere near Oasis!
SHOCKHOUND: The Vaccines are pretty great, though, right?
ARCHER: Yeah. I like a couple of songs of theirs — they’ve got this one song that’s really got a proper Lee Mavers chorus. But we’re really more involved in our own stuff, so when we do get excited, it might just be from random places, here and there. Like, Andy is really, really excited about this new thing he’s found called Rasta Mouse, this TV program. And I just found out that the Go! Team are bringing out a new album, so I’m excited to hear that.
GALLAGHER: I’m excited just to be having my dinner in about half an hour! I don’t know what it sounds like, but I’m betting that it tastes good!
Visit my newly launched Beady Eye fan site www.standingontheedgeofthenoise.com by clicking here.
Andy Bell
Beady Eye
chris Sharrock
Gem Archer
Liam Gallagher
A few weeks back Beady Eye recorded an exclusive live session for the UK TV programme 'Live From Abbey Road'.
The band set up in the world famous Studio 2 and performed several tracks from their forthcoming debut album 'Different Gear, Still Speeding'.
Fans will be able to see the guys playing 'Four Letter Word', 'The Roller', 'Bring The Light' and 'Kill For A Dream'.
The programme will air on UK's Channel 4 at 23:45 on Monday 28th February, the day of the album's release.
Source: www.beadyeyemusic.com
Visit my newly launched Beady Eye fan site www.standingontheedgeofthenoise.com by clicking here.
Watch Beady Eye's First TV Performance On Monday
A few weeks back Beady Eye recorded an exclusive live session for the UK TV programme 'Live From Abbey Road'.
The band set up in the world famous Studio 2 and performed several tracks from their forthcoming debut album 'Different Gear, Still Speeding'.
Fans will be able to see the guys playing 'Four Letter Word', 'The Roller', 'Bring The Light' and 'Kill For A Dream'.
The programme will air on UK's Channel 4 at 23:45 on Monday 28th February, the day of the album's release.
Source: www.beadyeyemusic.com
Visit my newly launched Beady Eye fan site www.standingontheedgeofthenoise.com by clicking here.
Andy Bell
Beady Eye
chris Sharrock
Gem Archer
Liam Gallagher
Glasgow was where it all began for Oasis and Liam Gallagher hopes lightning strikes twice as he returns to the city to launch Beady Eye.
Eighteen years ago, in May 1993, a young Manchester band led by brothers Liam, who sang, and Noel Gallagher, who wrote the tunes, played King Tut's Wah Wah Hut and were spotted by Creation boss Alan McGee.
He signed them and Oasis became the biggest band of the Nineties, steering Britpop to chart dominance, seeing all seven of their albums go to number one and scoring eight number one singles.
But on August 28, 2009, the fractious relationship between Noel and Liam finally splintered shortly before Oasis were due to perform at a Paris festival. Noel quit claiming he was sick of the "verbal and violent intimidation".
He'd quit before but this time it was final and as he plots a solo career, Liam has bounced back.
He has taken the ashes of Oasis (Beady Eye are made up of the group's final line-up: guitarist Gem Archer, bassist Andy Bell and drummer Chris Sharrock) and claims his new band will be the biggest in the world. But it's not gone totally to plan so far.
The first single The Roller didn't make the Top 30, scraping in at number 31.
Of course, the fans could be waiting for Beady Eye's debut album Different Gear, Still Speeding which is out on Monday.
What will be a far harder test will be Beady Eye's first gigs at Glasgow's famous Barrowland next Thursday and Friday.
Will the fans just call out for Oasis tunes or allow Liam and his new band to grow into their own? The man with more bluster than the north wind is ready.
"They're gonna dig it, cos we're gonna be on form," he insisted.
And those Oasis fans who just want his old hits? "I've got a microphone, we've got guitars, we'll drown them out. They can shout what they want."
But this is also a different Liam. The brash, strutting man of Oasis days has been smoothed down.
The 38-year-old father of three doesn't have to fight against his brother for his voice to be heard anymore, doesn't have to toe whatever line Noel dictated.
His Beady Eye bandmates claim he's having fun, is chilled and enjoying being part of a team.
Maybe that's why he admits he'll be scared in Glasgow.
He said: "There was never any fear with Oasis. You knew people were going to dig it because it was Oasis. But I'll be honest, when the gigs come round with Beady Eye, we'll be s******g it, because it's a new thing."
Like The Roller, Oasis' first single Supersonic also got to number 31 but that was when they were unknown.
The same placing for The Roller must have been a kick in the teeth, but the band claim it's become about the music again.
What if Different Gear, Still Speeding doesn't match up to Oasis' seven for seven album number ones? "We're not bothered about chart success, but this deserves to be massive," says Liam.
"It's exciting not knowing what's going to happen, but we know it's good enough to change people's lives. We hope it does."
Gem added: "We just want people to dig us, for Beady Eye to have an energy, to keep on rockin'."
Oasis became Noel's band despite Liam forming it and giving it a name, but Beady Eye is a team effort.
And although Gem was close to Noel it seems there was no split. He left and the rest of the band decided to carry on, under another name.
With Steve Lillywhite on board as producer, Beady Eye entered London's RAK Studios in June last year and over 12 weeks put down what Gem calls, "the best thing I've ever been involved in".
He, like Andy, joined Oasis in 1999 working on Heathen Chemistry, Don't Believe The Truth and 2008 Oasis swangsong Dig Out Your Soul.
Liam added: "We're fired up, not because we thought we'd show everyone it could happen without you know who (Noel), we're fired up because we're doing music."
This time there is no boss. Liam said: "The key is just not being afraid to say something when it needs to be said.
"There is nothing worse than being in a band when you can't say anything."
Liam doesn't see Oasis reforming and he wants his old fans and Beady Eye's new ones to move on.
"It was important not to sit and dwell on the past," he said, talking about the weeks after Noel quit.
"We'd just come off a tour and we were on fire, if we'd said, 'let's do something in a few months, or next year', the flame would have burned out or we'd have got the fear."
The 13 songs on Different Gear, Still Speeding sound like Oasis but there's added bounce.
Tunes like Bring The Light and Beatles and Stones sound like a band having fun. Given Liam called his first child Lennon, the Beatle's sound is all over this album from The Roller to Three Ring Circus.
He never hid his affection for The Beatles but his songwriting was hardly Lennon/McCartney.
But his songwriting greatly improved from the clumsy Little James on Standing on the Shoulder of Giants in 2000, to the five songs he had on final Oasis album Dig Out Your Soul which included I'm Outta Time - as good a tune as any Noel was putting in.
The lyrics are direct and will be great to sing along to and as Liam says on album opener Four Letter Word: "nothing lasts forever".
And so to Glasgow next week.
The touring band will see the core four joined by Jeff Wootton on bass (Andy going back to the guitar) and Matt Jones on keyboards.
After the two dates in Glasgow they'll be back in Scotland on April 18 at the Edinburgh Corn Exchange and then play the Sunday at T in the Park on July 10.
They have dates lined up in Europe and Japan but whatever happens with their debut expect a new album sooner than happened with Oasis.
Liam said: "What happened with Oasis was you'd end up on an 18-month tour and you wouldn't have any time to put new music out.
"When you get big, it slows you down.
"When you start out fresh, it's all about the tunes. And remember, we're a new band, we're not going to get above ourselves and start thinking we can play stadiums."
Source: www.dailyrecord.co.uk
Visit my newly launched Beady Eye fan site www.standingontheedgeofthenoise.com by clicking here.
Beady Eye Interview From Glasgow
Glasgow was where it all began for Oasis and Liam Gallagher hopes lightning strikes twice as he returns to the city to launch Beady Eye.
Eighteen years ago, in May 1993, a young Manchester band led by brothers Liam, who sang, and Noel Gallagher, who wrote the tunes, played King Tut's Wah Wah Hut and were spotted by Creation boss Alan McGee.
He signed them and Oasis became the biggest band of the Nineties, steering Britpop to chart dominance, seeing all seven of their albums go to number one and scoring eight number one singles.
But on August 28, 2009, the fractious relationship between Noel and Liam finally splintered shortly before Oasis were due to perform at a Paris festival. Noel quit claiming he was sick of the "verbal and violent intimidation".
He'd quit before but this time it was final and as he plots a solo career, Liam has bounced back.
He has taken the ashes of Oasis (Beady Eye are made up of the group's final line-up: guitarist Gem Archer, bassist Andy Bell and drummer Chris Sharrock) and claims his new band will be the biggest in the world. But it's not gone totally to plan so far.
The first single The Roller didn't make the Top 30, scraping in at number 31.
Of course, the fans could be waiting for Beady Eye's debut album Different Gear, Still Speeding which is out on Monday.
What will be a far harder test will be Beady Eye's first gigs at Glasgow's famous Barrowland next Thursday and Friday.
Will the fans just call out for Oasis tunes or allow Liam and his new band to grow into their own? The man with more bluster than the north wind is ready.
"They're gonna dig it, cos we're gonna be on form," he insisted.
And those Oasis fans who just want his old hits? "I've got a microphone, we've got guitars, we'll drown them out. They can shout what they want."
But this is also a different Liam. The brash, strutting man of Oasis days has been smoothed down.
The 38-year-old father of three doesn't have to fight against his brother for his voice to be heard anymore, doesn't have to toe whatever line Noel dictated.
His Beady Eye bandmates claim he's having fun, is chilled and enjoying being part of a team.
Maybe that's why he admits he'll be scared in Glasgow.
He said: "There was never any fear with Oasis. You knew people were going to dig it because it was Oasis. But I'll be honest, when the gigs come round with Beady Eye, we'll be s******g it, because it's a new thing."
Like The Roller, Oasis' first single Supersonic also got to number 31 but that was when they were unknown.
The same placing for The Roller must have been a kick in the teeth, but the band claim it's become about the music again.
What if Different Gear, Still Speeding doesn't match up to Oasis' seven for seven album number ones? "We're not bothered about chart success, but this deserves to be massive," says Liam.
"It's exciting not knowing what's going to happen, but we know it's good enough to change people's lives. We hope it does."
Gem added: "We just want people to dig us, for Beady Eye to have an energy, to keep on rockin'."
Oasis became Noel's band despite Liam forming it and giving it a name, but Beady Eye is a team effort.
And although Gem was close to Noel it seems there was no split. He left and the rest of the band decided to carry on, under another name.
With Steve Lillywhite on board as producer, Beady Eye entered London's RAK Studios in June last year and over 12 weeks put down what Gem calls, "the best thing I've ever been involved in".
He, like Andy, joined Oasis in 1999 working on Heathen Chemistry, Don't Believe The Truth and 2008 Oasis swangsong Dig Out Your Soul.
Liam added: "We're fired up, not because we thought we'd show everyone it could happen without you know who (Noel), we're fired up because we're doing music."
This time there is no boss. Liam said: "The key is just not being afraid to say something when it needs to be said.
"There is nothing worse than being in a band when you can't say anything."
Liam doesn't see Oasis reforming and he wants his old fans and Beady Eye's new ones to move on.
"It was important not to sit and dwell on the past," he said, talking about the weeks after Noel quit.
"We'd just come off a tour and we were on fire, if we'd said, 'let's do something in a few months, or next year', the flame would have burned out or we'd have got the fear."
The 13 songs on Different Gear, Still Speeding sound like Oasis but there's added bounce.
Tunes like Bring The Light and Beatles and Stones sound like a band having fun. Given Liam called his first child Lennon, the Beatle's sound is all over this album from The Roller to Three Ring Circus.
He never hid his affection for The Beatles but his songwriting was hardly Lennon/McCartney.
But his songwriting greatly improved from the clumsy Little James on Standing on the Shoulder of Giants in 2000, to the five songs he had on final Oasis album Dig Out Your Soul which included I'm Outta Time - as good a tune as any Noel was putting in.
The lyrics are direct and will be great to sing along to and as Liam says on album opener Four Letter Word: "nothing lasts forever".
And so to Glasgow next week.
The touring band will see the core four joined by Jeff Wootton on bass (Andy going back to the guitar) and Matt Jones on keyboards.
After the two dates in Glasgow they'll be back in Scotland on April 18 at the Edinburgh Corn Exchange and then play the Sunday at T in the Park on July 10.
They have dates lined up in Europe and Japan but whatever happens with their debut expect a new album sooner than happened with Oasis.
Liam said: "What happened with Oasis was you'd end up on an 18-month tour and you wouldn't have any time to put new music out.
"When you get big, it slows you down.
"When you start out fresh, it's all about the tunes. And remember, we're a new band, we're not going to get above ourselves and start thinking we can play stadiums."
Source: www.dailyrecord.co.uk
Visit my newly launched Beady Eye fan site www.standingontheedgeofthenoise.com by clicking here.
Beady Eye
UK ONLY
The News of the World's mass circulation men's magazine Jam launches on Sunday 6 March with a covermount of a five track CD sampler of 'Different Gear, Still Speeding' by Liam Gallagher's band Beady Eye.
The CD will be polybagged in the Carlton and Granada television regions, and will be redeemable by voucher in Tescos nationwide.
The former Oasis singer is also the subject of the title's cover feature and stars in an exclusive shoot by iconic British photographer David Bailey.
Visit my newly launched Beady Eye fan site www.standingontheedgeofthenoise.com by clicking here.
Free Beady Eye CD In Sunday's News Of The World
UK ONLY
The News of the World's mass circulation men's magazine Jam launches on Sunday 6 March with a covermount of a five track CD sampler of 'Different Gear, Still Speeding' by Liam Gallagher's band Beady Eye.
The CD will be polybagged in the Carlton and Granada television regions, and will be redeemable by voucher in Tescos nationwide.
The former Oasis singer is also the subject of the title's cover feature and stars in an exclusive shoot by iconic British photographer David Bailey.
Visit my newly launched Beady Eye fan site www.standingontheedgeofthenoise.com by clicking here.
Andy Bell
Beady Eye
chris Sharrock
Dave Berry
Gem Archer
Liam Gallagher
Liam Gallagher, Andy Bell and Gem Archer came into Xfm Towers to talk to Xfm's Dave Berry about their debut album 'Different Gear, Still Speeding', where the name "Beady Eye" came from and what happens when a rock superstar plays knock and run at your house.
Visit my newly launched Beady Eye fan site www.standingontheedgeofthenoise.com by clicking here.
Watch Dave Berry Interview Beady Eye
Liam Gallagher, Andy Bell and Gem Archer came into Xfm Towers to talk to Xfm's Dave Berry about their debut album 'Different Gear, Still Speeding', where the name "Beady Eye" came from and what happens when a rock superstar plays knock and run at your house.
Visit my newly launched Beady Eye fan site www.standingontheedgeofthenoise.com by clicking here.
Noel Gallagher
Oasis
Russell Brand
On February 25th February 2009, Oasis were unable to attend the NME awards due to touring commitments in Europe so Russell Brand presented Noel with the award for 'Best British Band' during trip to the band's Big Brother Recordings office.
Oasis also won the 'Best Blog' award for Noel's 'Tales From The Middle Of Nowhere'.
Visit my newly launched Beady Eye fan site www.standingontheedgeofthenoise.com by clicking here.
On This Day In Oasis History...
On February 25th February 2009, Oasis were unable to attend the NME awards due to touring commitments in Europe so Russell Brand presented Noel with the award for 'Best British Band' during trip to the band's Big Brother Recordings office.
Oasis also won the 'Best Blog' award for Noel's 'Tales From The Middle Of Nowhere'.
Visit my newly launched Beady Eye fan site www.standingontheedgeofthenoise.com by clicking here.
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