{|Oasis|} always thrived on tension between the Brothers {|Gallagher|} -- not the interpersonal squabbles but their conflict between instinct and discipline. {|Liam|} personified the former while {|Noel|} flew the flag for the latter and their distin... Read more

{|Oasis|} always thrived on tension between the Brothers {|Gallagher|} -- not the interpersonal squabbles but their conflict between instinct and discipline. {|Liam|} personified the former while {|Noel|} flew the flag for the latter and their distinct, differing definitions of rock & roll continued to churn out exciting rock & roll until the end, when {|Liam|}'s cavalier attitude toward work proved the final straw for the elder {|Gallagher|}. Unsurprisingly, the first solo projects from the two reflected this dichotomy: {|Liam|}'s {|Beady Eye|} is all big-legged swagger; {|Noel|}'s {|High Flying Birds|} is tasteful, mannered craftsmanship. {|Noel|} often griped how {|Liam|} would prevent {|Oasis|} from doing anything unexpected, thereby raising expectations of left turns on {|High Flying Birds|}, but the little brass flourishes peppered throughout the record don't stop the album from playing like a succession of variations on Don't Look Back in Anger and The Importance of Being Idle. Craftsman that he is, {|Gallagher|} does come up with several keepers -- the {|Oasis|} carryovers Stop the Clocks and (I Wanna Live in a Dream in My) Record Machine, If I Had a Gun..., and Everybody's on the Run. ~ Stephen Thomas Erlewine Less