Whenever I play a Liam Gallagher song or even an Oasis album, I get the sudden urge to put my hands behind my back — put on a stylish parka and sing along with Liam. Yes, I know; I am a total fanboy dork.
I was excited when Everything is Electric came out as a single; it went immediately into constant rotation on my daily Subway commute playlist. However, I had mixed feelings after the second single was released, it was weird and unexpected, so I feared this album would suck. Then when the third single came out, I thought I was being a bit overdramatic, and this album might actually be pretty good, but I was still somewhat skeptical. Nevertheless, after I bought the album and gave the entire thing multiple listens, I was beyond delighted with the album as a whole.
Officially, this is Liam’s third solo album, and it is receiving positive reviews from the critics, mainly because it is a different-sounding album and a daring effort from Liam, showcasing his range and ability to adapt but not fully compromise.
Clearly, this is a more experimental album than his previous two solo records. I can tell Liam is experimenting with his vocal range, which is a good thing. Oddly, this is the least Rock ‘n’ Roll album in Liam’s solo discography — it lacks more upbeat, arena Rock’ n’ Roll songs that are typically expected from a Liam Gallagher album. Instead, there are more background gospel vocals and synthesizers — so I guess I would say this is a more modern-sounding album if such a thing exists.
Liam’s first solo album, As You Were (2017), was a solid effort to re-introduce Liam to the world. It was a collection of well-crafted pop-rock songs. Songs like Wall of Glass, For What is Worth, Paper Crown, and Come Back to Me are top tunes. They are in constant rotation on my weekly playlists.
I needed some time to digest his second solo album, Why Me Why Not (2019), but after many listens, it has become one of my favorite albums of this new century. Songs like One of Us, Meadow, Gone, Shockwave, and Now That I’ve Found You have become modern classics, but my absolute favorite tunes from this record are One, The River, and Misunderstood. These last two tracks are absolute bangers.
Conversely, C’Mon You Know departs from his first two solo records. This is a more optimistic-sounding album with some newfound vulnerability, but Liam’s signature swagger is still there.
Liam is doing all the top summer festivals this year and headlining most of them, meaning there is demand for his music, which explains why this album reached #1 on the charts.
Here is a track-by-track breakdown:
TRACK 1 — MORE POWER: This opening track felt really weird, especially the intro part with the children’s choir. But I dig the way Liam sings the “Mother” and “Father” parts of the song.
TRACK 2 — DIAMOND IN THE DARK: Funky tune. This is one of the standouts from this album. Liam’s classic delivery comes through beautifully here — He is hitting high notes like never before. There is a subtle homage to the Beatles here.
TRACK 3— DON’T GO HALFWAY: The most Beatles-sounding track here. Interesting lyrics; this track is a grower.
TRACK 4 — C’MON YOU KNOW: Weirdest song from the entire album. The drums are solid. It works better as part of the whole album, not as a stand-alone single.
TRACK 5 — TOO GOOD FOR GIVING UP: Beautiful ballad — It has become my favorite Liam Gallagher rock ballad since Once and All You Are Dreaming Of.
TRACK 6 — IT WAS NOT MEANT TO BE: Folksy kind of song. 60s and 70s vibes. Another grower.
TRACK 7 — EVERYTHING IS ELECTRIC: Excellent track—the most rock n roll track here with Oasis-style drums. The vocals are top-notch.
TRACK 8 — WORLD’S IN NEED: Catchy beat. Another one of my favorites — Liam, continues to surprise me as a solo songwriter.
TRACK 9 — MOSCOW RULES: Unique sounding track from the rest of the album. Co-written but a member of Vampire weekend — This is a very experimental track that ends up working out nicely.
TRACK 10 — I’M FREE: Probably the most experimental track. It is a complete departure from traditional Liam songs — there are some sprinkles of reggae and punk.
TRACK 11 — BETTER DAYS: The orchestra-sounding introduction was pretty cool. It’s a summer song. There are some nostalgic vibes here. The music video, shot on a rooftop, is pretty cool.
TRACK 12 — OH SWEET CHILDREN: A lovely tune and the drums are nice.
TRACK 13 — THE JOKER: Groovy track with some direct and apparent references to Noel.
TRACK 14 — WAVE: This is another different-sounding song that works well. It includes another reference to Noel, I think.
Rod Rioja 