download the album for free, it's leaked. Clicking on this link : here (if it doesn't work anymore, search for another). Don't give money to millionaire hypocrites.
Liam said Noel is an arselicker... said from the one who needs sucking even people from corporations dicks who have nothing to do with Oasis for writing songs, producing albums etc... what is about himself, he says it's about Noel... Liam needs a psychiatrist, as his fans all people with mental problems.
There are already negative reviews of his boring record sung with autotune (Noel is a MUCH better singer too), 2 stars out of 5 (not the arselicker Nme of course, they wouldn't exist without Oasis). Better Days (second consecutive single after the title track, both not even in the Uk top 100) doesn't even have a refrain. This album is proof his fankids are completely blinded, they say it's great when something isn't. Just because "it's Liam"... not a guarantee of quality. Main problem of Liam songs is they can be good at first but have no longevity.
You immediately realise they dont "stand the test of time"... we are trained to first listens with all the discographies we listened to during Covid lockdown. Some tracks are clearly boring fillers to have the number of songs for the album.
"A lack of great songs. The 2019 documentary As It Was revealed a fellow retaining just enough truculent edge. It’s a shame that is not present on his third "solo" studio album. Gallagher told The Sunday Times recently that C’mon You Know (a terrible title, incidentally) is “a bit peculiar in places… 80 per cent madness and 20 per cent classic.” The truth is, though, that Gallagher’s co-writers/producers Greg Kurstin and Andrew Wyatt's production is more playful than Gallagher’s template guitar stomp, but mostly the songwriting simply isn’t there to back this up. The title single is a case in point, never really blossoms into anything, just like closer “Oh Sweet Children”. There are lots like these; expensive-sounding filler. Gallagher’s most persuasive solo album, a rawer creature, is yet to come".
Liam considers great who did Knebworth... so not the Beatles but Robbie Williams... He's just obsessed and suffers from inferiority complexes. His guilty conscience for causing Oasis split...
He even said he stopped being a dickhead... the worrying thing is that he doesn’t even realise he’s now a dickhead more than ever... when he was young it was ok, “it’s just rock’n’roll”... now it’s clearly Debbie politically correct’s fault. Nothing to do with Oasis.
another 2 stars out of 5 :
"Life moves on for most, unless, like Gallagher you’re stuck displaying a monotonous range of limited influence (Beatles/Rolling Stones) where flowery, psychedelia and syrupy melodies serve as window dressing rather than anything of the writer’s personality for which they are so famed. Starting ominously with a children’s choir (so far, so You Can’t Always Get What You Want) on opener More Power, with its psychedelic touches doesn’t really go anywhere; an intro looking for a song. Diamond In The Dark is in thrall to The Beatles’ Day In The Life, going so far as to crib some of the lyrics – “now I know how many holes it takes to” – and comes over like late period psych-pop Beck. Don’t Go Halfway is yearning to be something The Stone Roses would reject and can’t decide whether to rock out or cop out. Too Good For Giving Up sees him go ‘full Lennon’ in this aping ballad in the vein of Imagine. Not even the addition of a negligible Dave Grohl on drums on Everything’s Electric can elevate this beyond a chorus with some drums. It Was No Meant To Be and World’s In Need are lightweight acoustic-based strummers that are so top-heavy with trite lyricisms (“love that never dies”, “all I wanna do is run away with you”, “sail the seven seas”) that make (the unfortunately titled) Moscow Rules limp lyrical stab at surrealism (where “empty seat stare back across the table”) seem almost puddle-deep. The irony that his care-free simian stroll has apparently resulted in the need for a hip replacement could be seen as a medical metaphor for his relevance some 25 years since his heyday. C’mon You Know’s problem is that, after the initial bluster of his two preceding albums, it just sounds distinctly pedestrian, complacent and reflective. The addition of wisps of trippy phasing, looped drums and a diversion into dub (eek!) all add up to songs that seem just a bit too contrived and calculated to really feel like he ‘means it man’.""People talking like they're Gods" (More Power), "You've been boring" (The Joker), as also I'm Free... seems like he talks about himself...
Then the liar comes out with media darling catchphrases as "I'd give a kidney to Noel", when all the year he behaves the opposite way... If you are really Oasis fans, you wouldn't support his ego, or you have no reunion. Don't cry then as usual oh Noel is soooo baaaaad...
Only blinded fankids smoking weed with no music knowledge can think it’s a good album...
they give 5 STARS to the album... sure, new Pink Floyd ahahaha come out of his arse.
“There are pleasant moments but it even more than his first two solo albums, it sounds like a bunch of people who aren’t in rock bands got together and tried to write a contemporary Oasis record. It’s fine and will do the business for him. But no one will be listening to this record 5 years from now.”
*** 3 stars out of 10
(we're not listening 5 days... I bet the majority will not admit it but won’t listen 5 weeks later...)
“This album felt like a collection of "filler" songs, giving it a general lack of feel and direction.
Lyrically, this album was quite cliché and, again, lacked any direction or mood.
Some songs, which musically sounded promising were marred by questionable lyrics (for example, Better days).
The mix sounded confused also, some tracks sounding like they were engineered by completely different people from song to song.
Everything's electric was a clear winner on the album, however, as we know, wasn't written by the man himself.”
** 2 stars out of 10
they give 5 STARS to the album... sure, new Pink Floyd ahahaha come out of his arse.
He said he caused a lot of mess in his life... but also : people have a distorted image of him... (playing the poor victim) ...oh it must be Noel's fault eh...
“There are pleasant moments but it even more than his first two solo albums, it sounds like a bunch of people who aren’t in rock bands got together and tried to write a contemporary Oasis record. It’s fine and will do the business for him. But no one will be listening to this record 5 years from now.”
*** 3 stars out of 10
(we're not listening 5 days... I bet the majority will not admit it but won’t listen 5 weeks later...)
“This album felt like a collection of "filler" songs, giving it a general lack of feel and direction.
Lyrically, this album was quite cliché and, again, lacked any direction or mood.
Some songs, which musically sounded promising were marred by questionable lyrics (for example, Better days).
The mix sounded confused also, some tracks sounding like they were engineered by completely different people from song to song.
Everything's electric was a clear winner on the album, however, as we know, wasn't written by the man himself.”
** 2 stars out of 10
SOPORIFIC ALBUM
In a recent tweet, Liam Gallagher wrote that Oasis, his old band, “piss all over” the Beatles, his favourite band. That’s nice, isn’t it. Ironic, actually, as Gallagher seems to be pissing out the Beatles’ liquid waste on his new album, C’mon You Know, a soporific wade through the kind of swampy Britpop that achieves profundity only when you’re filthy, sunburned and four pints deep at Glastonbury.
There’s nothing inherently wrong with that, of course, but you’ll forgive me for finding Gallagher’s arrogance – no matter how performative, ironic or on-brand – slightly jarring. For some, C’mon You Know will no doubt be a balm: a return to the glory days of Oasis (AHAHAHA). Others may speculate on the value of writing 12 new, less exciting versions of “Don’t Look Back in Anger”. Not all music has to be deep, but this record isn’t fun or experimental either, which makes the whole exercise seem rather pointless.
The album opens with a heartfelt, spangled children’s choir on “More Power” in a self-aware nod to the Rolling Stones’s “You Can’t Always Get What You Want”, before it unfolds into Gallagher’s trademark andante pace and meat-and-two-veg guitar band, which dominates the rest of the record.
Nestled among the sludge, C’mon You Know is at its best with the harmonic jangling of “It Was Not Meant to Be” and folky optimism of “World’s in Need” – the two tracks, incidentally, that sound most like the Beatles. It momentarily picks up in the middle with a few chantable choruses. Title track “C’mon You Know” drives forward at a quicker pace, with vapidly optimistic, crowd-pleasing lyrics – “You know it’s gonna be alright/And we’re gonna dance all night”. On “Everything’s Electric” there are syncopated piano riffs and some heady British summer energy, with twanging guitar solos and a satisfying stomp.
Although “being alright” and “dancing all night” are very post-Covid feelings, Gallagher was adamant that this wasn’t a “post-Covid” album – “Fuck that shit – I don’t want to fucking hear about [the pandemic] ever again, do you know what I mean?” he told NME. Fair enough, you might say, but it does knock the wind out of such sweeping lyrics, which are very quickly transformed from heart-warming collective sentiments to completely meaningless clichés.
Gallagher’s spicier moments – the kick drum chorus on “I’m Free”, the mournful nostalgia of closing track “Oh Sweet Children” – are a much-needed injection of life into what is otherwise a textbook exercise in drear. Sure, everyone will stomp around shouting and throwing drinks when Gallagher does his festival circuit this season, and sure, the diehards will be pleased at this full-length return to late-1990s form. The problem is that throughout C’mon You Know I was – to borrow a phrase that Gallagher used to describe his experience of that lockdown we’re not allowed to mention – “bored shitless”.
There’s nothing inherently wrong with that, of course, but you’ll forgive me for finding Gallagher’s arrogance – no matter how performative, ironic or on-brand – slightly jarring. For some, C’mon You Know will no doubt be a balm: a return to the glory days of Oasis (AHAHAHA). Others may speculate on the value of writing 12 new, less exciting versions of “Don’t Look Back in Anger”. Not all music has to be deep, but this record isn’t fun or experimental either, which makes the whole exercise seem rather pointless.
The album opens with a heartfelt, spangled children’s choir on “More Power” in a self-aware nod to the Rolling Stones’s “You Can’t Always Get What You Want”, before it unfolds into Gallagher’s trademark andante pace and meat-and-two-veg guitar band, which dominates the rest of the record.
Nestled among the sludge, C’mon You Know is at its best with the harmonic jangling of “It Was Not Meant to Be” and folky optimism of “World’s in Need” – the two tracks, incidentally, that sound most like the Beatles. It momentarily picks up in the middle with a few chantable choruses. Title track “C’mon You Know” drives forward at a quicker pace, with vapidly optimistic, crowd-pleasing lyrics – “You know it’s gonna be alright/And we’re gonna dance all night”. On “Everything’s Electric” there are syncopated piano riffs and some heady British summer energy, with twanging guitar solos and a satisfying stomp.
Although “being alright” and “dancing all night” are very post-Covid feelings, Gallagher was adamant that this wasn’t a “post-Covid” album – “Fuck that shit – I don’t want to fucking hear about [the pandemic] ever again, do you know what I mean?” he told NME. Fair enough, you might say, but it does knock the wind out of such sweeping lyrics, which are very quickly transformed from heart-warming collective sentiments to completely meaningless clichés.
Gallagher’s spicier moments – the kick drum chorus on “I’m Free”, the mournful nostalgia of closing track “Oh Sweet Children” – are a much-needed injection of life into what is otherwise a textbook exercise in drear. Sure, everyone will stomp around shouting and throwing drinks when Gallagher does his festival circuit this season, and sure, the diehards will be pleased at this full-length return to late-1990s form. The problem is that throughout C’mon You Know I was – to borrow a phrase that Gallagher used to describe his experience of that lockdown we’re not allowed to mention – “bored shitless”.
UPDATE : Liam starting to cancel gigs (typical) in Madrid
more soon
C'mon You Know is the latest album from ex-Oasis member as well as world renowned brother hater Liam Gallagher. After making a relatively decent solo debut with 2017's As You Were, the younger Gallagher brother has repeatedly tried and failed to live up to the inevitable hype that comes attached to any releases that come from someone as legendary as himself.
Gallagher's vocals are painfully mediocre here and act as further proof that his glory days as a performer are far behind him. The effects and polish that are often layered over his vocal delivery act as the dried out cherry on top of a very inauthentic performance. There isn't an ounce of care or passion in Gallagher's voice, yet he tries to capture the same emotions and tones he did when Oasis were at their best all the same. Rather than walk the same road as some such as Jonathan Richman of The Modern Lovers, Liam Gallagher refuses to move on to a new sound to accommodate a weaker set of lungs. Although this is certainly the man that once fronted one of British music's best artists of the 1990s, Definitely Maybe this is not. This isn't even Be Here Now in terms of quality, if I'm being honest.
Liam sounds completely disengaged with C'mon You Know and generally disillusioned by his own sound. His third solo record could have easily been a golden opportunity to at least dip his toes into a style that would lead him in a different but fresh direction. Rather, this album feels like a contractual obligation rather than a passion project of any kind. The instrumentals are remarkably similar to those that can be found on albums from previous projects of his, except presented in a less immediate fashion. Gallagher himself can barely bring himself to sound interested on the majority of the record. C'mon You Know's only highlight is the mildly psychedelic and dark cabaret influenced "Moscow Rules," an excellent track that sees Gallagher put legitimate love into his music. It is also a song that acts as an example of what every other song here should have been: something new, not a passionless rehash.
As far as songwriting goes, Liam never once reaches his older work, but that really shouldn't be expected. As it stands, C'mon You Know doesn't do much that doesn't tackle the hyper-positivity and glass-half-full mindset Gallagher has done in the past. While it still is an example of most people's favorite Gallagher brother begging a larger audience to care about him again by circling around to old ideas, the songwriting here doesn't suffer nearly as bad as the instrumentals in this regard and is reasonably harmless overall.
Speaking of those instrumentals, they're quite dull and often barely fit the intended tone of the songs. The musicianship here feels automated and robotic in nature, with limited room for typical emotion. Tracks with potential personal impact such as "Diamond in the Dark" are muffled by instrumentals that conjure an emotional reaction percentage of approximately zero. I suppose there are significantly worse performed records from the past few months than C'mon You Know, but Liam Gallagher's third solo album is dreadfully lifeless nonetheless.
In conclusion, C'mon You Know is a disappointing listen at best. What could have been an excuse for the younger half of the brothers Gallagher to develop his sound beyond one of tired Britpop is nothing more than a weak offering that leans on the excellent "Moscow Rules" to not be a total sepia-toned train wreck.
THE GUARDIAN : the album has pleasing touches but can’t rise above solid.
C’mon You Know hardly sets the pulse racing any more than its two predecessors.
The old adage about cooks and broth holds true, because for all the efforts of the crack team surrounding him, the results are largely unremarkable and at times, as in the case of Oh Sweet Children, downright cloying.
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