In the interim before the Gallagher brothers decide to settle their differences and reform Oasis, there are less worthwhile things Liam and the rest of the group could be getting on with than Beady Eye. Interestingly, they have as much to prove as a debutante outfit, and while the signposts are bluntly obvious – The Beatles, The Who, a bit of glam, more Beatles – there is an endearing charm to the bluster and eagerness of the project as a whole.
Gallagher’s voice is certainly not a thing of beauty, a nasal whine that can descend into the kind of sounds associated with a fierce bout of constipation (singles ‘Four letter Word’ and ‘Bring The Light’ are both offenders). But suddenly you have a song like ‘For Anyone’, a bright and jangly two-and-a-half-minute tune and a tender vocal turn by our kid. ‘Kill For A Dream’ is swaying Northern soul, whereas ‘Standing On The Edge Of The Noise’ is a Lennon/McCartney riot that puts the Gallagher bray through a vocoder, something that should have been tried years ago. Similarly, ‘The Beat Goes On’ should be renamed ‘The Beat-Les Impressions Go On And On And On’. ‘The Morning Son’ is a strong finale. Like a hungover ‘Champagne Supernova’ without Noel’s hooks, it’s as close as Beady Eye get to being expansive.
If you’re the kind of person who thinks Kasabian are ‘cutting edge’ or that civilisation reached its zenith around the time of Oasis’s Knebworth shows, this is for you. For the rest of us, this is just unchallenging retro rock ‘n’ roll to drink to. There will be moments, however, like when Gallagher crows “I’m gonna stand the test of time, like Beatles and Stones,” that you’ll find yourself admiring Beady Eye’s balls-out self belief.